The latest video art exhibition at 180 the Strand in London presents a sprawling collection of immersive works that captivate visitors through sheer sensory impact, even as critics question whether the show's disparate pieces form a coherent artistic statement. "Paradigm Shift," running through December 21, transforms the venue's vast underground concrete space into what some describe as a "video art wonderland," though one that seems to prioritize spectacle over thematic unity.

The exhibition opens with three seminal works from the 1990s that helped define video art as a medium. Mark Leckey's "Fiorucci Made Me Hardcore" serves as a tribute to rave culture and youth rebellion that maintains its powerful impact nearly three decades after its creation. Gillian Wearing's "Dancing in Peckham" features the artist's charmingly awkward silent dance performance in a London shopping center, establishing itself as one of the era's most influential video works. Pipilotti Rist's "Ever Is Over All," which follows a smiling woman destroying car windows with a flower, proved so iconic that Beyoncé referenced it in her 2016 "Hold Up" music video.

However, any expectations that the exhibition would maintain this 1990s focus or explore the democratization of video technology are quickly abandoned. The show abruptly shifts to Ryan Trecartin's lengthy, chaotic mid-2000s work featuring what critics describe as "barely watchable lo-fi sitcom of weirdos doing weird things." Fashion designer Telfar Clemens contributes a 2025 piece documenting energetic model auditions, while pioneering photographer and activist Nan Goldin presents a collage of found footage featuring Donyale Luna, the first Black supermodel.

The exhibition's lack of curatorial coherence becomes increasingly apparent as visitors encounter Dara Birnbaum's late-1970s experimental work transforming Wonder Woman into a disco icon, alongside Josèfa Ntjam's contemporary CGI video exploring evolutionary themes through undulating sea creatures. Critics note that while individual works may have merit, the absence of connecting themes leaves audiences confused about the exhibition's purpose or message.

Several potential narrative threads emerge throughout the show, including explorations of the music video format by artists Cao Fei and Arthur Jafa, examinations of Black identity by Jafa and Martine Syms, and investigations of queerness and fashion in works by Telfar and Andy Warhol. Social media themes appear in pieces by Trecartin and Meriem Bennani, whose film addresses pandemic experiences through the lens of lizard characters. Derek Jarman's Super 8 experimental films also feature prominently, though their connection to other works remains unclear.

Despite these curatorial shortcomings, the exhibition succeeds through the sheer quality of its presentation and the impact of individual pieces. The venue's exceptional technical capabilities and immersive environment create powerful viewing experiences, with works by Syms described as "unreal" and Jafa's contribution characterized as "hallucinatory and uncomfortable." The 1990s pieces continue to demonstrate their enduring brilliance in this contemporary context.

Critics suggest that the exhibition's strength lies not in its conceptual framework but in its commitment to presenting challenging video art at the highest technical standards. The loud, immersive, confrontational nature of the works creates an environment where visitors can experience powerful individual pieces, even while struggling to understand their collective meaning. Some argue that simply titling the show "Some Stuff We Quite Like" might have been more honest than attempting to suggest paradigmatic shifts that never materialize.

The venue at 180 the Strand has previously established itself as a leader in immersive art exhibitions, particularly with "The Infinite Mix" in 2016, which set standards that subsequent video art shows have struggled to match. While "Paradigm Shift" may not achieve that level of curatorial sophistication, it demonstrates the continued power of video art to challenge and engage audiences through pure sensory experience.