This month, Gabriel Orozco has transformed the Anthony d'Offay spaces to create new environments for his first solo show at the gallery. Much of the work has been made in the weeks preceeding the exhibition, during his stay in London, in response to the city and to the particular possibilities of these spaces. In one gallery he leads us through a colouful maze (by a choice of routes, direct or meandering), from which we emerge into a darkened room where a surprise awaits. In another, vivid circles of carpet have multiplied across the gallery floor, and again we find that we have become participants in the work of art, or players in a game with unfamiliar rules.

Of Mexican origin, Orozco has lived and worked in South America, the USA and Europe, addressing each new environment with sensitivity and perceptiveness. His drawings, which we see on our path through the maze, are made on banknotes, photographs and air tickets - the accumulations of the nomadic life of the artist. The subtle adjustments he makes, cutting and colouring, encourage us to register colour, texture and form as sensitively as the artist. A photographic work, seen here for the first time, also serves to illuminate the artist's working practice. It shows the skull piece Black Kites, which Orozco showed at Documenta this year, but at an unfinished stage, not yet chequered in black and white. Pencil markings wind around the skull, tracing out a grid of intersecting lines. The photograph records a moment which no longer exists, capturing an ephemeral point in the artist's process of thought and work. Orozco gives this arrested stage the new title Path of Thought.

Past work has emerged from chance encounters on the street, realised in impromptu arrangements or subtle interventions which are documented in photographs. Orozco's permanent sculptural pieces also manage to convey a responsiveness to their environment and a sense of mutability which relate them to his celebrations of the transitory and ephemeral. One group of works to be shown here is a series of cast aluminium sculptures, the hugely expanded forms of wax pinched and twisted between the artist's finger and thumb. These extraordinary contorted shapes, like fallen meteorites or frozen wave crests, have a strangeness that is at once natural and fantastic, and seem to change appearance from every angle. It is typical of Orozco to conjure elegance and beauty from the humble original material, and typical too to preserve the suggestion of flux and mutability in the fixed, cold medium of cast metal.

Orozco made his mark on London last year with a show at the ICA and the Empty Club project with Artangel. This year he has been exhibited in Marseilles, Munster and Amsterdam, and at Documenta X.