How I enjoyed viewing yet another exhibition by members of the Oxford Art Society. Their work, which is on display at the Said Business School Gallery until November 3, seems to be getting better and better. So many of the works displayed appeared to be telling a story. They left me wondering what would go on if I left the room and the pictures magically came to life and played out the next sequence behind my back.

Desmond Morris, a member of the society whose work is included in the show, once remarked that there were times when it seemed as if his paintings continued painting themselves while he slept. It's an amusing image of which I am frequently reminded, particularly when viewing an ingenious exhibition of works.

If the pictures did spring to life, would the two women in Annie Newnham's composition in gouache on wax entitled Conversation go on talking so intensely, or would they get up and leave the room? And, would Ewan, the white bearded subject of Alan Mynall's skilfully executed watercolour break into a smile and relax?

I would certainly love to know if the figure holding a fig leaf in Eleanor Clutton-Brock's super mixed media sculpture So Much More Fashion Than Fig Leaves, would finally accept the swath of silk fabric that the striped-suited tailor was offering, or opt to keep her fig leaf? I'd also be intrigued to discover whether Reggie does finally seduce Celia in Jago Pryce's amusing little watercolour Reggie Shows Celia a Good Time.

If the pictures came to life I'm sure that the dark haired young man who is the subject of Graham Watson's amusing oil painting would get up and reach for a cloth to wipe away the ice cream that runs sensuously over his lips and hands in the three studies depicting his gluttonous pleasure. Helen Begg-Tyrrell's Harlequin Girl (above) painted in oils, looks so relaxed, perhaps she would simply stay where she was, happily posing on a series of colourful quilts. Roma's striking monochrome subject, in the picture entitled Eleven, may choose to remain where she is, too, as she appears to be hovering on the brink of womanhood.

Equally striking is Gile's Oldershaw's untitled photo collage depicting a 1950s family happily cooking together, while four young black children look on. I think the family in this picture would certainly come to life and finish making that apple pie, then - if left to their own devices - offer a slice to the black children.

There are many paintings that deserve a mention, including Sue Mynell's May Morning, in watercolour and ink which simply dances with life and her Summer Wedding with the cat watching from afar is delightful. Jill Cooper's fabric collage Dancing in the Waves justifies a mention too. In fact the women, who are lifting their skirts in her picture as they frolic through the surf, would probably invite everyone to join them if the paintings did come to life. An imaginative collection - don't miss it.