Curated by Glasgow School of Art MFA student Levi Haines, and featuring contributors from GSA, Edinburgh College of Art, Edinburgh’s Embassy Gallery and Haines’ native Portland, Oregon, the show is tightly-packed and busy. It’s impossible to retain some sense of thematic cohesion within such a setting, and the works do vary wildly in quality, but there are enough good ideas here to merit an extended viewing.

Emmet Walsh’s ‘Judge Judy Presiding, Near the Cross of Spancil Hill’, for instance, is an altered text which offers little understanding without explanation or contextualisation, but his other work is a painstakingly homemade version of an intriguing idea. A horn-shaped box displaying a small projected photograph and playing a very faint song, it’s designed to be either seen or heard in turn, but not both at once.

Mairi Lafferty’s ‘Little Simone’ is a fairly standard but visually arresting stab at surrealism, a glass eye in a plaster mouth resting on a mirror, while Ruth Barker’s ‘Start From the Flaw and Work Outwards’, a plaster block dried around sheets of plastic, expresses the hidden weakness of her materials. Nat Andreini’s ‘The White Album’ manages to engage, partly because it is the most intrusive. A simple tape recording of the artist singing the titular Beatles album a cappella, his self-consciously poor attempt is brashly iconoclastic. (David Pollock)

Glasgow School of Art, until Fri 14 Dec