Martin Kobe & Ellen Altest
I've always thought it a little odd that the White Cube's subsidiary gallery space should be dubbed 'Inside the White Cube' rather than the more logical 'Upstairs…'. Nevertheless, upstairs at Inside the White Cube, Ellen Altest's almost too-acutely observed rotting gourds, broken pipes, and dangling male genitalia provide a curious, even quirkily meditative reflection on time and mortality. Downstairs, meanwhile, though not Inside (do keep up), Martin Kobe's labyrinthine urbanscapes provide the perfect counterpoint, igniting the main space in a fireworks display of multiple vanishing points. Like a young architect's wet dream, warehouse corridors and futuristic building facades overlap and fade into one another like a high-speed collision between Escher and early-'80s sci-fi pulp covers. Now that's a compliment.

Ori Gerscht: Time After Time
Intentionally recalling the rich still-life flower paintings of Henri Fantin-Latour - precise, graced with a hint of the symbolism that he would help influence - Ori Gerscht's 'Blow Up' photographs of exploding floral arrangements are a delightful intellectual curiosity. Digitally altered to resemble the peculiarities of oil paintings, they seem at first sight to be the classical still-lifes with which we are familiar: the result of patient study and application. Yet their literally explosive subject matter - a frozen spray of ruby red petals; a glorious fireworks display of roses - is clearly the subject of the high-speed photography pioneered by studies like Muybridge's horse-trot and Edgerton's bullet in flight. Bold and dramatic, wedged between these two vehemently opposing schools, they are an affront to one's temporal perceptions. And deliciously so.