The tragedy of a one-hit-wonder visual artist is that good painting or sculpture is harder to hum than a once-catchy tune. Lidén could be typecast by her 2010 billboard poster assemblies. Indeed, her practice has stayed close conceptually to their concerns since. This new show tries to repeat those works’ success quite literally, barely bothering to swap one backing track for another. Doing so, it misses that the world and Lidén have evolved in over a decade.

The billboard meditations on the city and the image are back, and this time they’re electric. But that’s not because they take from Rothko or Albers as they’d have you believe: each literally needs a plug socket. Museum benches propped up on stacks of card waste suggest that one should look at them with intent, without explaining why. A pair of mostly black videos cryptically set on a beach are the one source of true intrigue.

But this isn’t Times Square in a blackout. Lidén made so, so very many copies of these works that they overwhelmed her better judgment. Even the gallery deemed some redundant and it dismantled part of the exhibition halfway through to accommodate another artist’s show.