FILLING in some of the gaps in art history, particularly omissions and erasures around the exchanges between artists and models, is the business of Gotterdammerrung, a two woman show from Patricia Hurl and Therry Rudin.

The origins of the exhibition were some large charcoal sketches of Hurl by Rudin. But these do not hang in the final show, as they were ceremonially burnt earlier. Instead, each artist has created a one-room installation at the gallery, Rudin's featuring painted and lacquered paper boats and a minimalist sepulchre for the ashes of the large drawings.

Hurl uses fluorescent bulbs to light a darkened room hung with a forest of twine.

To divide the contributions of each artist so rigidly, however, is to contradict the work's ideas.

An important suggestion here is that the relationship between the artist and the model, and between the model and the finished work, are not as fixed as is frequently imagined.