Upward Mobility looks at our behaviour as consumers. What can be kept private and what is made public is investigated by placing iPads as cameras in garden hedges around the room.

This clever show demonstrates how the internet has become a wall and we have no control over which side we are standing on, wherever we place ourselves. The installation examines how we are never private in a public space by making a selfie stick available to visitors as they enter the space so they can take their own photos. Viewers can broadcast the intimate moment of connection in an art gallery to the outside world.

To reflect this style of consumption, the artist, Debora Delma Corp., added 'Corp' to her name, a term that suggests how art is distributed. Her concept of personal behaviour displayed in public is highly topical, relating to a new play by Mike Bartlett. Game lets the audience sit behind a window that looks onto the cast playing out their personal lives in a domestic setting that is housed in the public space of the Almeida Theatre.

After spending time in both spaces, the sense of voyeurism slowly creeps into cowardice and guides the viewer towards becoming part of the reality rather than standing on the sidelines. The exhibition brochure asks, 'What makes you upwardly mobile?' and this is a useful question to investigate with the selfie stick when no one knows who will be watching relayed images through the window of the internet.

With things moving so fast around us the life of a tweet is just minutes and so there is no definitive image of the present. Looking at the iPad screen to see how people's experiences in the space have changed over the past hour is a challenge to reporting on the work. Maybe being able to consume the past is a virtue after all.