The rest of the show is made up of copperplate engravings and huge sculptures of trees made of brass and copper, some with their roots exposed, others emerging from artillery batteries. Visitors are given a Mubi link to watch it at home – which is a relief – because though it’s beautiful and complex, it’s hard to grasp in the actual space. The centrepiece of the show is an icy, austere, slowly unfurling film set in the snows of Idaho following a hunter and an engraver, full of achingly languid choreography. But that barely scratches the surface, because the whole thing takes in the story of Diana and Actaeon from Ovid’s ‘Metamorphoses’, the politics of gun ownership in America, cosmology, metallurgy, alchemy and – as ever with Barney – a whole bunch of sex. There’s the headline version of what this is all about: Barney’s latest body of work explores the rewilding of the Sawtooth Mountains in his native Idaho, following the reintroduction of wolves to the area by conservationists. But that doesn’t mean it’s not worth a go. So your chances of fully grasping what this show’s about – even if it didn’t include a two-hour film – are pretty slim.

Matthew Barney’s a real onion of an artist: we’re talking layer after layer after layer of meaning and myth and narrative and concept and aesthetics, on and on for ever and ever.

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