In some cases, the darkness is part and parcel of the installation - Torsten and Ronnie’s shows were, in very different ways, concerned with transforming the gallery space into an alternate environment - but in others, the work might easily have been shown in the usual harshly-lit white cube. For these shows, the dimness is more about light than dark - Dougie’s sculptures and paintings, for example, were spotlit, which served to divide the space, and connect the works.

I don’t know if this is happening elsewhere, but I’d say that many examples add up to a little trend.

Funnily enough, it makes things easier to look at.