Not taking the Becher’s name in vain was once the sole Düsseldorf school commandment. Welling trained elsewhere and, besides, his claim on typology is also a decades-long story. Yet this two-venue paring of the three photographers’ deadpan architectural meditations is a dead giveaway of Welling as a mere imitator.

Perhaps. The Bechers recorded industrial phenomena with such restraint that their lens critique was evident in even a single snapshot. Welling’s veneration of brutalist concrete – his lens turns to Washington’s infamous HUD building now outlawed under Trump’s classical architecture edict – borders on a fetish by contrast. But if one no longer needs to look at Bernd and Hilla’s grain silos, Welling’s quasi-opportunistic fixation leads to fresher discoveries.