Entering Gertrude Contemporary, I am told by a member of the gallery’s staff that Nicola Blumenthal’s Silver Objects (2023) saw ten iterations before opening day. Ten iterations. I’m sorry you missed it, she tells me. I look up: the quiet menace of Ming Ranginui’s slay Belle (2022), a playfully violent axe-as-bow fashioned from satin, hangs above us, waiting to determine what might be eviscerated and what might be kept.