Ryan Gander’s complex and unfettered conceptual practice is stimulated by queries, investigations or what-ifs, rather than strict rules or limits. For example, what if a child’s den of sheets were remade in memorialising marble (Tell My Mother not to Worry (ii), 2012)? What if all the pieces in a chess set were remade in Zebra Wood, so that neither side was entirely black nor white (Bauhaus Revisited, 2003)? Gander is a cultural magpie in the widest sense, polymathically taking popular notions apart only to rebuild them in new ways – perhaps by refilming the same ten-second clip 50 times over, as in Man on a Bridge (A study of David Lange), 2008. Language and storytelling play an overarching role in his work, not least in his series of Loose Association lectures or in his attempt to slip a nonsensical, palindromic new word, ‘mitim’, into the English language. Occasionally his ludic concepts drift into more bodily, relational challenges, especially in This Consequence of 2006, that involved the unsettling presence of a gallery owner or invigilator dressed in an all-white Adidas tracksuit, with an additional sinister red stain embroidered into the fabric. Invitation and collaboration are also at the heart of Gander’s fugitive art – whether he’s exchanging fictionalised newspaper obituaries with an artist-friend or taking pictures of people looking at pictures at an art fair – although arguably every solipsistic action he takes merely holds up yet another mirror to his ceaselessly voracious mind.