People, when describing lost love, often cite that you only know what you have when it’s gone – in a similar sense, the floorboard’s absence was briefly (surprisingly) felt. However, when I found the floorboard towering above me, with one of its ends leant against the rafters at Dutybound, I experienced another revelation. Rather than questioning and lamenting a loss, this was a celebration. Richards has made two significant works centred around one delightfully tactful move – by the removal of one thing we acknowledge its absence (and the meaning of the space around it) and by its arrangement in a new space, we can understand its sculptural potential. This is echoed further in the other miscellaneous objects like pin boards, a key cabinet, dust and dirt that Richards has moved from one place to the other. At the Dutybound space, Richards also has recordings of sounds, like traffic and machine gun fire that signals a green man, which can be heard when moving between the two spaces. This sound art is not just a thoughtful addition; it is a strong twine that ties the goals of this show together.