If Gregor Schneider was a film-maker, he’d be John Carpenter or Wes Craven. He is contemporary art’s answer to the Horror movie, an artist who makes sinister and disturbing rooms, corridors, hallways and other interior or enclosed architectural spaces. In 2007, he exhibited “White Torture” in Hamburg – a corridor and linked rooms, all in white, like a hospital, that smelt suffocatingly of wet paint and plastic. It was full of doors, some of which were locked and some of which lead into cells. In London in 2004, he showed ‘The Schneider Family’, in which he took two neighbouring terraced houses and created identical scenes in each, not only in terms of the interior décor, but with actors too. There was a man in the bathroom of each house who appeared to be satisfying himself, and, in another room, a little girl wrapped in a plastic bag. That is typical of Schneider. His work has incredible precision. It uses the discipline and simplicity of minimalism, but it also often has elements that seem to come from cheap TV drama.