New installations by Richard Wilson in London, Bristol and Oxford.

SHE CAME in through the bathroom window / Protected by a silver spoon / But now she sucks her thumb and wonders, / By the bank of her own lagoon,' sang John, Paul, George and Ringo back in 1969, well into their post-Sergeant Pepper nonsense lyrics period. Joe Cocker re- recorded the song some years later, and it's his, raunchier version that you'll hear on the answering machine if you ring Matt's Gallery - on 01-249-3799 - for details of its current exhibition.
 
The thing that comes through the window in Richard Wilson's She Came in through the Bathroom Window is, paradoxically, a window. Not so much a sculpture, more an architectural intervention, the piece consists of an ingenious alteration of the gallery building. The most striking feature of Matt's Gallery, a warehouse space in the East End of London, is the 30-foot battered steel-framed window that runs along its longest wall. Wilson has removed a 20-foot section of it, brought it into the space at an angle of about 45 degrees to the wall from which it came and suspended it from one of the gallery's interior steel gables. He has then proceeded to box in the area that separates the dislocated section of window from the wall that it once occupied. If the reader's eyes have, themselves, begun to glaze over at this point, this commentator's inarticulacy is not entirely to blame; Wilson's work is not easy to describe.
 
'C-l-e-a-n, clean,' instructed Dickens's Mr Wackford Squeers, 'verb active, to make bright, to scour. W-i-n, win, d-e-r, der, winder, a casement. When the boy knows this out of the book, he goes out and does it.' The boy has not done it. The window has not been...

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