Marc Dennis has a firm grip on space and his meticulous, at times mellifluous articulation of it is mesmerising. Dennis’ interest in the grand theft of several paintings from the Isabella Stewart Gardner Museum in Boston in 1990 is a predominant source of inspiration in the absence and presence (of art and its thieves). Offering us a view of, often the aftermath of criminal genius, there is a fracture that wriggles across Dennis’ surfaces in the fidelity and faculty that he devotes to the astonishing suspension of disbelief he generates and equally, to the mimetic rent he inflicts. In his object, its subject, the context that colours it, and the fabulous fraudulence of the illusion he creates, then destroys, he simultaneously recreates one dazzling moment.