An exhibition that took place in Gallery Malmo, a project space located as part of a larger complex of artist’s studios in Muirhouse, Edinburgh. The composite panels that featured, collectively titled OPS, were constructed from arrangements of diolen, carbon fibre and aluminium. These works were accompanied by a text outlining a number of reference points through which they could be interpreted. These included allusions to the development of carbon fibre and kevlar as tactical materials capable of resisting ballistic attack; as well as the destruction of abstract artworks by conspiracy theorists who suspected their instrumental role furthering governmental concerns.

The context in which these particular works appeared spoke to the practice of ‘art-washing,’ the use of cultural activities as a means of gentrifying under-privileged areas, and the forms of objection that have been mounted to such processes. The presentation of an exhibition of artworks that were to a certain degree impervious to vandalism was a tacit, and wholly literal, acknowledgement of the complex role artist production plays in relation to urban redevelopment.