What a mixed bag of exhibitions, each with its highs and lows. Progressing from one gallery to another means having to make bold mind-set changes, which proves a bit of a challenge but then art is there to make us think, isn't it?

I'm not sure what to think about Chiasm in the central space. We're told by the concertina-folded catalogue that 'an inquiry into context connects the work'. Each artist and collection of artists, as in Glamorama's case, validate their exhibits using, as in Glamorama's case, delightfully discursive language. All I can say in straight talk is; Giblet presents a big cardboard model of an escalator, Spencer enlarges a photograph of a laneway somewhere near the city, Smith has constructed a big portable sauna complete with fluffy white towels, and in Glamorama's case (Jane Finlay, Donna Fulton, Erin Hefferon) the wall is scarred by big 'follow the dots' flowers and taped music plays. Thankfully Honey gives us something to look at. His two large charcoal drawing of scaffolding create interesting patterns of positive and negative spaces.

Hummerston's An Enduring Symbol intrigues. He explores meanings and messages attributed to the human skull as icon and object. We see the skull in a morbid or mythical context, as a symbol of death or intellectual prowess. It's been and still is a potent motif in many cultures, from ancient Peru to the modern day punk scene. I liked the skull constructed of tiny shells, it has the same sense of mystery and beauty as an island's cult object. Hummerston's digital animation By Any Other Name sees a grey skull beautifully morph into a pink rose, a la Holbein. I didn't particularly like the exhibit where the gallery goes can pick out a Jolly Roger collage, pop it into a plastic bag and put money in the locked 'honour' box. Gave the exhibition a 'fruit market' feel. No complexity of meaning there.

In the West End Gallery, Hunt's Core offers blurred close-up photographs of pieces of domestic furnishings, copper pipe constructions and an installation of multicoloured curtain rods. It's all quite fascinating though I doubt I interpreted it as the artist intended. I saw linear patterns and grids that support, construct and define our environment. Those hidden mazes of pipes that bring us hot water and cool air, unseen supports that allow drapery to fall into soft linear folds, and unnoticed lines of stitches that tuft and upholster our comfort zone. What I'm supposed to see is a connection with 'decoration and ornamentation evident on internet pornography sites'. Unfortunately I've never visited them despite many email invitations, so forgive me Mr Hunt for interpreting your fine exhibition via my own puritanical experiences.

Objectum shows Cypher's ability at carving wood, which begs the question, why add the kitschy leaf shaped bowls and plastic knobs? I like the installation Expectation, which suggests the innate physicality of materials in both the real and projected format. On small TV screens hands flutter sensuously around carved and cast objects to emphasize their shape, material and method of making, by hand. These screens circle a large steel and wood construction of a flower bud. An engaging work.

The exhibition in Studio 3 was touted as an interactive exhibition including projected images, reflections of the viewer, light and sound, in short 'an unlimited array of audio-visual experiences'. Unfortunately while I was there only the projector was working, no mirror, no light, no sound. I would have preferred to view these images hanging on the wall rather than as projections, if for no other reason than I could linger on some and pass quickly by others. Stewart's black and white photographs offer much satisfaction as each image is treated as a pictorial composition - a collection of shapes and shadows, poses and backgrounds - not just as a subject. Other photographic contributions are mere happy snaps. Lime's work needs culling, the quality seen in a few  was more appreciated than the quantity exhibited. PICA could take that advice on board too.