Method in the madness

Some artists - most to varying degrees - have one OK idea during a whole lifetime. They will often go on to duplicate this ad nauseam, with only infinitesimal variation.

It seems to be the case that Keith Tyson is a one idea kind of artist, too. However, his big idea is a multi-horned affair, with plenty of wild tangents and nifty offshoots. Which is why his first British exhibition since his Turner Prize triumph in 2002 is impressive, funny and smart.

The sub-plot is pretty simple. Tyson's interest in all things pseudo-scientific has spawned a series of diptych paintings. One panel is the Geno, the 'generative' painting, while the Pheno panel records the cerebral processes that produced the first.

Belladonna, a painting of a showgirl, a few kittens and some doodlings, is set alongside a painting providing the artist's thoughts. Jokes in art are not often that funny but Tyson obviously knows how to tell 'em.

In We Could Have Been Anything That We Wanted To Be, the Pheno panel contains classifications of interminable lists of apparently unrelated things - the results of extensive Googling.

The Geno panel, meanwhile, shows an 18th-century-type portrait surrounded by flouncy curtains, beneath which sits a crystal ball.