Sturtevant, at the Serpentine gallery All of which is to say, it wasn't with highest hopes that I visited Sturtevant's first solo show in the UK. Upon entering, there's an immediate sense of déjà vu: with the remake of a Felix Gonzalez-Torres light-bulb installation (12 cords hanging from the ceiling, each covered in incandescent globes that cascade into a pool). An original was included in Gonzalez-Torres's own Serpentine exhibition in 2000. Further in, there's the remake of a Warhol silk-screen of Marilyn Monroe. And the video Dillinger Running Series - with a turntable that projects onto all four walls sequentially - riffs on a Joseph Beuys film of gangster John Dillinger's fatal shooting in 1934 Chicago. In the early years, Sturtevant's imitations provoked much hostility. True, Warhol was a fan and even started replying to questions about his silkscreen technique: "I don't know, ask Elaine." But Claes Oldenburg threatened to kill her, when she recreated his elaborate shop installation The Store. And society at large, still adapting to Pop art's skill-lite rehash of images from popular culture, perhaps found replicas of them a conceptual step too far. The Serpentine show is littered with nods to other artists: a Paul McCarthy here, a Duchamp there. Sturtevant has recreated the Frenchman's 1920 sculpture Fresh Widow - a set of blacked-out French windows - even down to the pseudonymous signature "Rose Selavy." In many ways, this exhibition is a condensed tour of 20th-century art - albeit a Las Vegas-style, facsimile version. It wasn't till the Eighties that the zeitgeist caught up with Sturtevant: as sampling took off in pop music and a wave of "Appropriation artists" (such as Sherrie Levine and Richard Prince, they of the re-photographed photo) hailed her a pioneer. It's perhaps only in the 21st-century, however, that she has really come into her own. In a digitalised world of Wikileaks, unattributed information and infinitely reproduced images, Sturtevant might even be considered as relevant as any artist alive. Yet, there's a wealth of difference between relevant and satisfying. Rising annuity rates are relevant, but it doesn't mean I wish to see an exhibition devoted to them. For me, it's one of Sturtevant's few works without art-historical roots that sums up this show best: Infinite Finite, a brief film played on loop (repetition of a different kind). It's of a dog gambolling about a grassy field - and one rather wishes to be outside, in Hyde Park, watching actual dogs do the same. There's nothing better than the real thing. 'Sturtevant: Leaps, Bumps & Jumps' is at the Serpentine, to Aug 26; serpentinegallery.org