Repetition is the theme behind this expansive and varied show ranging from American giants such as Richard Prince (great early work) to budding British twentysomethings (look for Jack Strange’s arcane slide show of himself and strangers he found wearing the same red and blue wind-cheater) and a clutch of hot Latin American talent (such as Ariel Orozco’s show-stealing series of photographs in which he swaps clothes with strangers in a descent into rags).

There’s fun to be had working out how each of the 34 artists uses repetition. Wolfgang Tillman contributes his classic grid of photographs of Concorde flying over London. Sherrie Levine remakes Duchamp’s urinal but in a glamorous golden metallic cast. Paul Pfeiffer's photographs reproduce images from one of Marilyn Monroe’s last beach photo-shoots but with the star digitally removed. And there’s a massive “spot the difference” installation by Keith Tyson, in which two apparently identical arrangements of images of water, frying pans, gas towers and people have slight differences based on a one degree temperature differential.

But there’s another more complicate game you can play here too: Spot the intellectual weak-spots! The curators have played fast and loose with concepts in art, combining appropriation art (straight copying) with typologies (when you show the same thing in series) and one artist riffing on the work of another (lots of Bruce Naumann re-makes).

Also, this will probably be the first and last time you see the seminal black-and-white industrial photographs of Bernd and Hilla Becher hung in the same room as a row of identical casts of laughing men from the Chinese contemporary artist Yue Minjun’s trademark. It’s a horrifying juxtaposition — indicating unintentionally the line between minimal repetition and mass-production repetitivity.

Until 13 December (www.projectspace176.com).