One of the lead marketing images for this show of IKEA textiles is Inez Svensson’s Randig Banan, featuring rows of Warhol-style bananas set against black vertical stripes. It gets across something of what the Swedish store’s aesthetic is all about, incorporating the style and swagger of modern art into affordable home furnishings. In its Velvet Underground-adjacent loucheness, it’s also a reminder of how subtly radical IKEA seemed on its introduction to the UK a few decades back. Here was a company which somehow invoked a worldview (humane, liberal, anti-elitist) which wanted to banish chintz and Little Englander-isms; open to youth culture in an unassuming way, like a trendily bespectacled Swedish dad.

Dovecot’s new show is perfect Festival fodder: easy on the captions, visually dazzling and immensely fun. But it also gives a sense of how much IKEA did to popularise mid-century modernist design. For all that walking round their stores today can feel like being trapped in an aircraft hangar, the company has its roots in 1940s and 50s minimalism, and thus in concrete art, the Bauhaus, and the belief that good design has a societal role to play by tapping into common human impulses. Sure, it’s a long way from there to flat-pack furniture and three-pound picture frames, but you get the idea.

IKEA: Magical Patterns, Dovecot Studios, until 17 January; main picture: Inter IKEA Systems BV.