Probably, easily, the most bizarre work at the Michaelis Grad Show was Nicola Glenday's Source Columbia. It was a small room, made up as an office, jam-packed with images and text about pigeons. It's that sort of arrangement of elements, right down to the bits of string used to connect things, that is bang on the film version of the room of a paranoid schizophrenic. Like Russel Crowe in A Beautiful Mind doing his Soviet conspiracy bit. Except with pigeons.

I liked it because it was totally obscure, which can be quite a daring position to take for an academic show. It reflects the effect the internet has had on research, or even art, where all information is foregrounded and therefore equally important. The more you delve the more you find: paths connect, sidetracks develop and it all seems vital. Seething data. It starts to become menacing, schizophrenic. The key was a poster from Alfred Hitchcock's The Birds stuck on the wall, where something innocuos becomes strange and threatening. It's like spending a day on Wikipedia (when you start looking up if it was Russel Crowe in that movie and end up tracing the history of the Protocols of the Elders of Zion). Except with pigeons. But even the strange subject matter keyed into this. Can we say for certain whether identity politics are more important than pigeons?

Nice work, a little ridiculous and a little eerie.