It perhaps betrays Nauman’s geographic-biographical location as, since the 1970s, the artist has lived on a New Mexico ranch, which not leaving it for the social fixes of the current art system. His work is presented as bare as is his ambiguous pursuit of the deep-seated sense of a work, deliberately unsettling visitors.

Nauman has been like this from the very start, since that 1966 Self Portrait as a Fountain in which the physicality of Marcel Duchamp’s conceptual and founding action was obliterated in a cathartic gesture. The fetish and object component of the famous Mr Robert Mutt’s urinal was cancelled by an arc of water spouted from Nauman’s mouth.

Today, a fresh display of a few, specific and carefully selected works – all familiar to those in the know but for which the artist has sought a different assonance with the architectural space – makes their re-visitation doubly interesting. The procedural nature of Nauman’s work continues to pursue the meditative effect, a sort of mantra in which onlookers are invited to let themselves go.

As ever, it is impossible to attempt a potential explanation of the Bruce Nauman enigma. The quantum of illusionism in the raw datum he presents to our senses has a temperature and density that mean no definition of contemporary fits the artist. Certainly, he produces multimedia works, videos and performances but a label would be restrictive since he is constantly renewing his range of visual and sound experiences. Language and word manifested in an operational system remain at the heart of the physicality of all his works.