It’s officially no longer “too soon” for mediocre 9/11 art. Singer’s installation mimics the lobby and office spaces of the World Trade Center which she remembers from visiting her mother at work. This could be a trauma theme park but is instead an excuse to show off a handful of paintings of characters associated with the attacks. The stylised photorealistic canvases have titles that suggest deepfakes and are elaborate in their making: a 3D artist, a model maker, and a make-up specialist are involved. 

Singer has the benefit of ‘lived experience’ to defend her method but the content and extravagance of this production in central London are puzzling. This show would be better without the baggage of the artist’s personal story and even better without the Twin Towers altogether. The qualities of the image and Singer’s idiosyncratic construction of her subject are enough to deal with the event’s excess.