A life in the spotlight

Ok, the situation is this. Sam Taylor-Wood, media darling, chum of the A-list, wife of her dealer, makes beautiful photographs and videos. Unfortunately, these are by no means exceptional works of art.

Having said that, this isn't a bad show. As with her contemporary, Tracey Emin, Taylor-Wood's life and art are inextricably bound. Although she has recently appeared on these very pages beneath the headline, "There's more to me than cancer and celebrities", it is impossible to view the work except through these twin lenses. Self-Portrait in a Single-Breasted Suit with Hare, a striking portrait of the artist in a beautiful dark suit holding the beast in question, clearly refers to her recent mastectomy and chemotherapy - and you have to admire a girl who can pun on a subject like that. An amp inside the gallery is marked with the sticker: "We put the Fun back in Funeral." But why isn't this all horribly dark and moving?

The generous-spirited will say it's because Sam Taylor-Wood has a wonderfully light touch. Others will carp that her Faustian pact with the celebrity-besotted media makes her work superficial. Taylor-Wood wants to distance herself from the fame and be seen as a serious artist, but including Blur and Robert Downey Jnr in your work irreparably contradicts this ambition. You can't see past the surface of a celebrity, and she must consider the implications of this for her art.

So this is truly a mixed bag - from a dreadful, patio-worthy sculpture of a unicorn to an exquisite little video, Still Life (nice contradiction), shown on a plasma screen. Over the course of three minutes, a bowl of fruit gradually rots, collapses from within, and is swathed in a voracious blanket of frizzy grey mould. It's obvious, but compelling - and shows that Taylor-Wood is best when she finds metaphors for her life that don't involve celebrity chums.

The most poignant piece in the show is Bound Ram, a photo of a thin-limbed sheep, its legs bound together with red cord. It looks shit scared, probably because it's due for the chop. Likewise, the selfexplanatory Self-Portrait as a Tree.

Remixing Old Master paintings and art historical genres is where Taylor Wood excels.

Until 12 January. Information: 020 7930 5373.