Rebecca Hossack Art Gallery

The Frieze Art Fair is a little too contemporary for some tastes: last year’s smoking booth's are not what most of the patrons of Art London in the grounds of the Royal Hospital Chelsea would consider art. Not art, at least, that one could hang in one’s drawing room. That was the problem Art London had last year: too much drawing-room art. This year, I’m pleased to say, Art London moved out of the drawing room and into a more daring room.

Don’t get too excited – we are still not in a world of neon tubes leaning against white walls or projects so large they have to be installed in a separate building (as at Art Basel). But some of the 60 galleries showing had evidently striven to avoid the staid and give buyers a more exciting choice. (Having said this, there were still a disturbing number of Monet-lite works this year.)

Piers Bourke’s Bhutanese Monastery (Rebecca Hossack Art Gallery) was a tall digital print which seemed to have gone through a shredder before being roughly reassembled in three dimensions. It was challenging in a Cubist manner – the angle of approach is always changing, there is no way to see it all – and looked like it might fall apart at any moment, which gave it a nice tension.

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