FOR his latest show, Remco De Fouw has launched a quiet assault on the Temple Bar Gallery's exhibition space. The street-facing window has been sealed with white plaster, which has then been attacked with a scatter of shell-like moulds. Elsewhere, a length of thickly bundled copper wire crosses the gallery above the heads of visitors, connecting a wall-mounted water tank covered in dark, blue glass, with a plug-hole on an opposite wall.

On the floor beneath, an enamelled iron bath has shattered into pieces. On its fragments, it is just possible to recognise the etched lines of a network of tiny vesicles loosely following the contours of the human body. All around, images of disruption and of irreparable splits proliferate. An artist statement suggests that water and electricity might offer a productive metaphor useful for approaching larger, sometimes unseen systems. The point may be that it is possible to be satisfied with much less than a comprehensive picture, that what we can register through our sense might only be a fraction of the continuum. Closes November 19th