What’s the difference between a model, a mimic, and a dupe? Taxonomy? Strategy? Spin? Mike Cooter attempts to answer such questions in this exhibition. Radar—a commissioning body based at Loughborough University—have tasked him with considering Polish dramatist, director, and artist Tadeusz Kantor’s (1915–1990) interest in the latent theatricality of and around objects (notably mannequins and stage props), which Cooter combined with the research conducted into animal mimicry by the naturalist Henry Walter Bates (1825–1892). Cooter’s exhibition draws on Leicester’s New Walk Museum’s collection and the industrial collections from another city museum, the Abbey Pumping Station, which he displays alongside his own works, to present a riff on the quirks of duplication, the whirl of object relations, and the droll inflection of human perspective on any given spectacle. Cooter’s selection of paintings, prints, glassware, fossils, models, Victorian machinery, and damaged taxidermy—all set within an elegantly partitioned and color-coded space in this bright, nineteenth-century museum—is commanding. Large display shelves are cut to fit arrangements and hung at different levels. These horizontal undulations run through vertical sections of color, in mint green, acid yellow, and reflective silver, the scheme offset with vitrines and fabricated rails. Cooter’s sculptures, Guidance 1 and 2 (both 2018), are …