THE artists in this show I were all invited to submit work on gay, lesbian or bisexual themes. After which, most bets are off, as the artists move through a host of styles, ideas and attitudes.

From Andrew Kearney's glossy but monumental photos, to the tricky bed time stories of Michael Wilson's pillow slips, from Tom Gleeson's latex and plastic frames of abjection and decay, to Patricia Hurl's robust nude on oils, a sense of vigorous diversity is undeniable. One or two pieces, however, are undeniably feeble in execution and conception. This, of course, signifies yet another variety of diversity, though presumably of a less planned nature.

Billy Quinn shows the evidence of one, strong idea. Wouldn't it be interesting, the work seems to say, to speak about sexual abuse, guilt and self mutilation in the kind of visual language - isolated floating forms, regal colours, roman lettering - that might normally be reserved for the exploits of saints? The answer in this case is: "Yes, but not on a permanent basis".

Louise Walshe's simple and superlative video, Swansong tangles the everyday sense of loss experienced after a severe haircut, with some more poignant separations, from a parent, or a lover, or perhaps, from life itself. Video work from Mo White, in which a hand slowly manipulates an egg yolk turns up a quietly succinct image of the frailty of all dividing lines.