The gallery at Compton Verney regularly pairs contemporary and historic art exhibitions, and for the first time the contemporary one is currently being given the lion's share of the space.
Zoo is a video installation commissioned by Birmingham-based electronic media agency, Vivid, from photographer Richard Billingham.
Billingham, born in the Black Country in 1970, leaped to fame with Ray's a Laugh, his disconcertingly frank chronicle of the home life of his working class family.
It's not too great a leap from that famously voyeuristic work to Zoo, which studies the repetitive behaviour developed in captivity by animals in zoos all over the world.
Some of this behaviour is very odd indeed.
A kea, a very sociable bird which lives in New Zealand, runs backwards and forwards with its head held upside down, a giraffe licks a stone pediment, a tapir shakes its head from side to side, a polar bear keeps walking up to a crevice in a rock, then backing away from it.
In one looped sequence a group of youths taunt a tiger which responds by baring its teeth, but this is the only actual example of mistreatment or at least inappropriate human behaviour.
Knowing that this is Richard Billingham, you would not expect the exhibition to be a campaign on behalf of animal rights, though it would provide campaigners with some good raw material. When pressed on the subject Billingham concludes that London Zoo probably had the best conditions among the many he visited.
He adds: "The good zoos should be made better and the bad ones should be closed down. And there are some animals, like polar bears and eagles, you can't keep in zoos.
"It's not the size of the space that's important, it's the amount of stimulation in the space."
Much the same could be said about art galleries, and while Zoo is certainly not without interest, it does seem to be rather thinly spread around the generous spaces of the Compton Verney galleries.
After its Van Gogh extravaganza earlier this year, the gallery returns to a similar time and location with a much smaller exhibition somewhat wonkily focused on women as a subject for Impressionist artists.
I say this because, for example, it seems disproportionately fixated in the relatively obscure Paul-Cesar Helleu whose credentials as an Impressionist seem questionable to say the least. But it's a pleasant enough selection of works from mainly British public collections, including a couple of local stars in Degas' very early (1856) portrait of his sister from Walsall and Mary Cassatt's Portrait of a Woman from Birmingham.
Zoo and Vive La Parisienne: Women through the Eyes of the Impressionists are at Compton Verney, near Kineton, Warwickshire, until December 10 (Tue-Sun 10am-5pm; admission #6, #4 concessions, #2 children)