'Five Portraits of Cloth', a large scale, cunningly crafted work by Jayne Archard could have been an enveloping piece – if it hadn't had to compete with cramped canteen style tables and chairs. The Tricycle Gallery suffers a problem often seen in community arts spaces: areas are not properly defined, meaning that an exhibition space can be transformed into a cinema’s ante-room, and a café’s overspill seating space. I’m all for showing artwork in something other than the traditional White Cube, but it can only be a hindrance to the work when you have to battle with a chair to see it properly.

‘Other Visible Things’ is part of the Tricycle Gallery’s Recent Graduates 2008 programme; giving artists like Archard and Knight valuable exposure that can be difficult to achieve so soon after graduation. Regrettably, in this case the work shown doesn’t function as well in the outside world as in the bubble of the art college – why should the artists assume that all the gallery goers would be able to read, or even care about, the references to conceptual art history? Adam Knight’s ‘Studio Corner (After Mel Bochner)’(below) is an interesting photograph that investigates illusion and the documentation of a sculptural object, so why the need for the clever nudges and winks to those with a subscription to Art Review?

Even the title of this show is taken from Bochner’s influential exhibition: ‘Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art’. In the confines of the art college studio, Archard and Knight’s works are accessible as the viewers are more likely to have a similar knowledge to that of the makers. In the Tricycle Gallery, a space attached to a café, theatre and cinema in Kilburn, the art history allusions can seem like an elitist in-joke. I can see that Knight’s work in particular could be viewed as a playful re-working of ideas about Minimalism and Conceptual Art, but unfortunately the humour falls short.