Working in sculpture, film, performance, installation, Martin Creed’s practice constantly reappraises things, nothings and all incumbent relations. Working within a minimal or conceptual mode, most of his artworks, objects, statements, suggestions, and performances are titled Work and numbered. He wittily subverts the definitions of art and often uses mundane and modest materials such as Blu-Tack, balloons, tape, or piles of paper. Work No. 81 (1993) consists of a one-inch cube of masking tape in the middle of every wall in a London firm. Work No. 200 (1998) proposes “the air in a given space” by filling it with balloons. During 5 months in 2008, Work No. 280 had London runners sprinting one by one through the Duveen Galleries in Tate Britain. Yet the artist’s hallmark anti-materialism is occasionally counteracted, as in the marble staircase realized for the city of Edinburgh in The Scotsman Steps (2011) or the artist’s bronze sculptures.