Geoffrey Farmer came to international attention in 2012 with his Leaves of Grass installation at dOCUMENTA (13). Although the title of that work was borrowed from a Walt Whitman poetry collection, the works material content was made up of thousands of images the artist and his team cut from Life magazines (19351985), glued to grasses and applied to wooden supports.
Those hoping to see Leaves of Grass if they missed it before will be disappointed (its custodian, the National Gallery of Canada, has deemed it too fragile to travel). However, those hoping to see how Farmer arrived at this work will not be.
Billed as an extensive mid-career survey, the new VAG exhibition includes Farmers earlier stick-and-paper installations (The Last Two Million Years  and The Surgeon and the Photographer ); his architectural interventions, one of which has involved the removal of the VAGs well-trod-upon second-floor carpet; and his more recent works, such as Lets Make the Water Turn Black (2013), in which the artists emergent interest in theatrical lighting, kinetic objects and music has come to the fore. As with many of Farmers exhibitions, what appears on opening night is liable to be repurposed by the artist in the days that follow. Be prepared to come more than once.