It becomes harder to understand what Mimosa House is for with each of its exhibitions. The mission statement lauds “intergenerational women” and “queer artists”. The programme spells “Global South” and “intersectional”, too, making this outfit indistinguishable from myriad other non-profits. 

This instalment of a confusing multipart project suggests that women’s innate caring sensitivities can liberate them from sex-based oppression that exploits their very same nature. The thesis is impossible to evaluate, however, because the videos fade in bright lights, their sound bleeds, and the sculpture hides from sight lines. A Boyce installation looks damaged. Even Himid’s framed paintings look out of place, as though the whole thing were a school project staged in a disused office block. The show has half a dozen curators.

Lack of care for the artefact is a strange USP for a gallery. Mimosa House’s shows brim with works that are both poorly fabricated and shoddily installed. Even the website is ugly. Is this how public funding (£100k a year from ACE) makes itself look “subaltern”?