Audience 06 and Audience 01- large-scale prints depicting tourists in a Florence museum - form a panorama of gallery going behaviour. The self-posed subjects enact the absorption and distraction of exhibition going, making you acutely aware of your own act of looking as you enter the gallery.

This awareness of the role of the viewer remains present throughout this extensive retrospective, Thomas Struth’s first in the UK for 20 years. Struth’s strategy of taking ubiquitous photographic genres – snapshots, family portraits – and familiar scenes – Milan Cathedral, Times Square – and rendering them strange creates an uneasy atmosphere. The everyday is made extraordinary through telling details and unlikely beauty. The prints on view are carefully juxtaposed, bringing out hidden connections and contrasts between them. The multi-coloured trolleys and struts supporting the mosaic-like underside of Space Shuttle I at the Kennedy Space Centre are presented here, as a spectacle equal to the gilded wall paintings of the San Zaccaria in Venice, a print of which hangs opposite. A chemistry-fume cupboard at Edinburgh University is similarly transformed into a precious vitrine filled with jewel-like balloons. Another print of a jumbled nest of cables, becomes like an Abstract Expressionist composition.

Struth’s series of Family Portraits, hung in the intimate upper galleries, recast another familiar format. These images emphasise the commonalities between the representation of one family and the next. The exploration of sameness and difference is taken further in the black and white city scenes. Each print is identically sized and devoid of human life, operating within the typological tradition of Struth’s teachers, the Bechers. The most recent group of works in the show, five large jungle scenes, seems to sum up the emotional tenor of Struth’s photography that underlies the entire exhibition: seductively luminescent but with a lingering threat of uncomfortable revelation.

Until Nov 16

KATIE FAULKNER