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leans against the table, arms folded, trying to keep her voice level and reassuring, when really she wants to shout, ‘Of course you can do the show. You always do, and we always have this conversation first. And I’m sick of it.’
    Instead she says, ‘The new work is looking great,Inigo. Why don’t we talk it all through now and get something on paper to show them. Then they’ll leave you alone.’
    Inigo likes this notion. ‘Good,’ he says, bouncing the rim of the wheel on his palms. ‘And we’ve got time before they open, haven’t we?’
    â€˜Plenty,’ soothes Laura, switching on her computer.
    Inigo fiddles with his wheel and paces until twelve, winding himself into hysterics and being no help to Laura at all.
    â€˜I might forget what I’m doing, I might forget who I am. I think you should come too. Why don’t we cancel the show and go on holiday? Maybe I should go to New York today. Shall I go to the airport now? Or not?’
    â€˜For God’s sake, calm down!’ Laura yells finally. ‘None of this is necessary, everything will be fine. You know that.’
    Inigo nods. ‘You’re right. God, I’m completely exhausted. I think I’ll go and buy lunch. I need to get out.’ Laura nods gratefully. She wants to print out the press release and have Inigo calm again more than she wants the dye for her peacock-blue knickers.
    CONCEPT GALLERY
FIFTH AVENUE, NEW YORK 10021
Death Threat
by Inigo Miller
    British artist Inigo Miller brings his latest work to New York next month with his extraordinary new show
Death Threat
.
    The central image in the show is that of a tiny pastry-cutter in the shape of Miller’s trademark the Möbius strip, beneath the shadow of a giant rolling pin. This is a simple installation with strong metaphorical qualities. Miller’s work, increasingly, is concerned with mortality, with identity, with sexuality. Here his penetrating focus encompasses man’s relationship to woman and throws a nod to the issue of domestic harmony in the professional workplace. With this powerful new work, Miller is distilling his thoughts to express the very essence of what it is to be contemporary man. As ever, he pushes the boundaries of expectation further out and he challenges fulfilment.
    The show will include small biscuits made by Miller with the pastry-cutter. They should not be eaten. THEY TRANSCEND FOOD.
    Born in 1960, Miller first discovered the Möbius strip when making paper chains with his grandfather. He was eight then, and it was not for another ten years that he met anyone who understood or even recognised the Möbius strip, originally conceived by the GermanAugust Ferdinand Möbius in 1876.
    Miller has been showing with the CONCEPT gallery since he was twenty-one, when his extraordinary degree show at Goldsmiths Art School in London was bought in its entirety by CONCEPT and shipped to New York where an eager public bought every piece within the first hour of opening night.
    Inigo Miller will be happy to answer any journalistic queries by email. You can reach him through his agent at [email protected].
    THIS INFORMATION CONCERNING INIGO MILLER’S NEW SHOW IS EMBARGOED UNTIL FURTHER NOTICE.
    Most pleasing. Laura feels the press release has the necessary qualities of self-importance and absurd epic language to make it plausible to the Americans. The embargo, which Inigo suggested, is a brilliant idea, and a useful smokescreen, as so far nothing of
Death Threat
exists at all. She faxes a copy to agent Jack, sourly thinking that he should have been the one writing the press release. There is a mumbling beyond the door, and Laura opens it for Inigo, who enters backwards, balancing two Styrofoam cups of soup, a French loaf and a bunch of tulips in his hands,while dangling a paper bag of Turkish Delight from his teeth.
    â€˜Mmm, that looks wonderful,’ says Laura.
    There wasn’t much