A wall built from Harlequin-patterned concrete blocks serves as the backdrop for a pile of black aluminium cans. They look like an out-of-scale González-Torres candy pile but lack any source of tension. Elsewhere, a structure that could make for a children’s climbing frame smoothly blends steel rebar with concrete. It is endearingly crude but somehow too easy to look at. One might want to touch or mount it, but the materials’ soft, steady surfaces dissuade. Even the traces of rust on the grid appear self-conscious and uninviting.

Rothschild has made assemblies of such material perfection, blended pastel gradients, and blemishless extrusions for many years. Her high-spec fabrication inspires desire. But without points of contrast, these sculptures are too clean, too ordered, and too clever for no good reason. This work is “resolved” far past the point of an ideal, saturating the senses and leaving nothing to the imagination.