The challenge which the late Finn-Kelcey’s work posed to sex and gender roles in the 1970s and 80s seems quaint today. The brand of feminism archived in her studio self-portraits as a bull matador and a casino croupier has since both proclaimed total victory and continues to make a muted demand for parity. The exhibition’s sensitive display in local-art-centre retro exposes that project’s breakdown.

But making it ‘live’ again, as Finn-Kelcey’s performances once may have done is a different challenge. Snapshots and scripts of her 1976 durational gallery lock-in with a pair of magpies are simply no match for Beuys’ time with the coyote. That the art historian at whom this display is aimed cannot agree is the movement’s tragedy.