Its ability to absorb new ideas and collaborate with other mediums is evident in installations like Kelley Walker’s digital layering of bright cabochon shapes and news images of disasters, which form a kind of wallpaper for further works, or Jim Lambie’s relatively low-tech wall piece, where appropriated images of eyes held in place by black tape form networks of alien, nodelike clusters that challenge and deflect our gaze with the horrors of mascara gone mad.