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When Hannah Gadsby talks happily about her childhood pet dog, none of these memories are captured in the accompanying image displayed on screen of her younger self. Even the dog looks awkward. 

The theme of this show is our visual legacy and Gadsby uses images ranging from renaissance paintings and political portraits, to the pictures from her childhood, to explore our inability to capture these moments and the quest to control our image. 

This may not suggest comedy gold but Gadsby deftly displays a scholar's attentive eye for detail combined with the quick wit of a class clown unable to resist laughing at all the renaissance codpieces. As with a successful parody overtaking the impression of the original, there will be images you will soon see only as if through Gadsby's eyes. Even random selfies will require a second look in case, unbeknown to the photographer, there is a toilet cubicle captured in the background with feet showing underneath the door. 

There are enough images to be dizzying and an interlude the length of Leona Lewis's Hurt interrupts the pace – although Gadsby is clever with the subtle use of a callback just as the show seems to be slowing down.

You will laugh throughout but don't be surprised if afterwards the themes linger and your pleasure is mingled with a little sadness about photos that failed to capture childhood memories. There is depth here.