For the late Dutch conceptual artist Ger van Elk, representation was a mirage construed from a stew of untrustworthy emotive, political, and cultural influencers. Considered a bothersome gadfly and enfant terrible even by highly permissive 1960s standards, van Elk sprinkled a good dose of humour onto a multi-disciplinary art practice that culled from Arte Povera, Pop, and Dada. Nature, particularly the Romantic version of the sublime, became an irresistible target. To that end, camping tents made from delicate white lace, fun with traditional Dutch landscape genres and the manipulation of painting and photography to expose its phony realism are examples of his deeply ingrained scepticism towards the classical art historical canon. In the video work “The Rose more beautiful than Art, but Difficult, therefore Art is Splendid” (1972), the artist continuously re-arranges flowers in a vase to unmask the highly deceptive illusionism of Dutch Flower Painting and declares that without movement, chance, and time these arrangements do not reflect reality but instead are exposed as crude showcases of the patron’s wealth and the braggadocio of the painter. At Grimm through March 2.