Enclosure goes further than Shrine in shifting the physical way in which Masi's work is experienced. In order to see the piece it is necessary to be inside it, to squeeze through a narrow gap in the end screen wall. As before one's feelings, once within the space, are confused and conflicting. The ambience is sinister, surrounded as you are by chain-link fencing topped with razor wire. Security lamps shine at all four corners, and the atmosphere is pervaded with the smell of the tar which fills a shallow moat round the perimeter. Imprisonment is an immediate reading, but there are clues to other intentions or possibilities. The title suggests safety and protectiveness for oneself as much as its opposite; a sense of guarding one's own patch. Near the beginning of his poem Awakening, which is used on the sound-tracks for both Shrine and Enclosure, Steven Brook writes:

all personnel will have security thanks to your english.
It is called protection and even the air is washed before it is drawn in

As well as presenting two works which signal new developments, this exhibition includes Prompt, the last of the series of constructions that began with Search (1975/77). Many famiiiar elements appear:- a table and chair, tiles with animal footprints and coloured lights. The dog stands at the table, its head covered by the black silk once worn by judges when passing the death sentence, surveying the large area of cast aluminium tiles on the floor in front. At the far end of the tiled area is a small, oblong sand-pit. The surface of the sand is disturbed by a number of indeterminate marks, but the aluminium tiles are more easily readable as being covered with indentations made by the feet of dogs. How does one make sense of the dual meaning of the title? To prompt is to assist in another's carrying out of a role, nudging the remembrance of lines ill-learnt or temporarily forgotten. But there is the other meaning of prompt, which is that of punctuality, or being on time. There is also the meaning of pushing someone into doing something they don't particularly want to do.

Two lights with different coloured filters illuminate the dog and throw shadows onto a screen wall behind it. The colours are such - turquoise and apricot - that they render the illusion of the shadow itself being three-dimensional. Thus, embedded within a work which provides a metaphorical representation of human relations, is a further level at which the merest two-dimensional outline of that metaphor seems palpable. There are strobe lights too, though, which periodically destroy the trompe l'oeil. The footprints are traces, evidence of presence and activity. Next to the vague suggestiveness of the sand-pit, however, they appear frozen, either as fossils, in which case they would be outside time, or as deliberately made gestures, in which case they would exist in some removed or theatrical time rather than real time.

Masi is a careful artist, not only in the constructing of a work but also in the specification of the items necessary for its making. The language he uses is precise and, because of that, intriguingly descriptive. Included, for example, in Search is a table/cabinet case with obscure objects and devices arranged in a particular manner. This is delicious and at the same time pregnant with evil. And though I have stressed the differences which exist, and the changes which have occurred, between Prompt and the two new works, there are obvious continuities. Shed, a work completed for the Geometry of Rage exhibition in 1984 but started in sketch form in 1979, also consists of a rectangular shelter beneath which various objects are placed. Here, though, the shelter takes the form of a catalfalque, a temporary covering for the fossils, bones and other forms which lie embedded in the 'ground' beneath. But the jaw-bone, which in Shed is a muted echo of historical loss, becomes transformed through its placement in Shrine into an artefact / weapon at the beginning of a long but recognisable line of such things.

As mentioned, all of these works have been tableaux, carefully constructed situations in which the presence of humans has either been represented by the presence of stuffed animals, or implied through the character, placement and relationship of constituent objects. The way in which the viewer understands them is through a series of often contradictory identifications. There is either the suggestion of conflicting vantage points in the works themselves - for example, the interrogator/dissector and the interviewee/victim in Game - or of some confrontational attitude out towards the viewer. Yet these roles are never assigned; it is not either/or but always both/and.