May 2017 Issue 298

1 Dispatches: Andrew Stephensluna tunapri workshop, Bruny Island, 2011; photo: Lucia Rossi — **1 Dispatches: Andrew Stephens**
*luna tunapri* workshop, Bruny Island, 2011; photo: Lucia Rossi

2 Welina mai ke aupuni o Hawai'i: Greetings from the Hawaiian Kingdom: Léuli Eshraghi, Honolulu Sama Alshaibi, Wasl (Union), 2016, video still, from the project 'Silsila'; image courtesy the artist and Ayyam Gallery, Beirut and Dubai — 2 Welina mai ke aupuni o Hawai'i: Greetings from the Hawaiian Kingdom: Léuli Eshraghi, *Honolulu*

Sama Alshaibi, Wasl (Union), 2016, video still, from the project 'Silsila'; image courtesy the artist and Ayyam Gallery, Beirut and Dubai

3 An archival: Brook Andrew’s ‘The Right to Offend is Sacred': Sophie Knezic, MelbourneBrook Andrew: The Right to Offend is Sacred, exhibition install views, Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 2017; photos: Wayne Taylor — 3 An archival: Brook Andrew’s ‘The Right to Offend is Sacred': Sophie Knezic, *Melbourne*
Brook Andrew: The Right to Offend is Sacred, exhibition install views, Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 2017; photos: Wayne Taylor

4 Papunya painting: Revisiting the genesis of the movement: Kieran Finnane, Alice SpringsWalter Tjampitjinpa, Water story with possum, 1971, synthetic polymer paint on chipboard, 43.7 x 27.1cm; Museum and Art Gallery of the Northern Territory, Darwi… — 4 Papunya painting: Revisiting the genesis of the movement: Kieran Finnane, *Alice Springs*
Walter Tjampitjinpa, *Water story with possum*, 1971, synthetic polymer paint on chipboard, 43.7 x 27.1cm; Museum and Art Gallery of the Northern Territory, Darwin, purchased 1972

5 Spreading like wildfire: The ‘Kulata Tjuta Project’ in the APY Lands: Nyurpaya Kaika-Burton, AmataKulata Tjuta Project, installation and inma (ceremony) view, Government House, Adelaide, 9 October 2015; commissioned for ‘TARNANTHI: Festival of Con… — 5 Spreading like wildfire: The ‘Kulata Tjuta Project’ in the APY Lands: Nyurpaya Kaika-Burton, *Amata*
*Kulata Tjuta Project*, installation and inma (ceremony) view, Government House, Adelaide, 9 October 2015; commissioned for ‘TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art’; image courtesy the Art Gallery of South Australia, Adelaide, and Ernabella Arts, Iwantja Arts, Kaltjiti Arts, Mimili Maku Arts, Ninuku Arts, Tjala Arts and Tjungu Palya; photo: Ben Searcy

6 ‘I can see a shadow thinking’: Tracey Moffatt in conversation: Natalie KingTracey Moffatt, Artist at work, 1997, colour billboard, New York; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney, and Tyler Rollins Fine Art, New York — **6 ‘I can see a shadow thinking’: Tracey Moffatt in conversation: Natalie King**
Tracey Moffatt, *Artist at work*, 1997, colour billboard, New York; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney, and Tyler Rollins Fine Art, New York

7 Notes on perception: Gordon Bennett and Daniel Boyd: Tim Walsh, BrisbaneThe Green Room: Daniel Boyd, exhibition install view, Institute of Modern Art, Brisbane, 2016; image courtesy and © the artist and Roslyn Oxley9 Gallery, Sydney; photo: Carl W… — **7 Notes on perception: Gordon Bennett and Daniel Boyd: Tim Walsh, Brisbane**
*The Green Room*: Daniel Boyd, exhibition install view, Institute of Modern Art, Brisbane, 2016; image courtesy and © the artist and Roslyn Oxley9 Gallery, Sydney; photo: Carl Warner

8 On Rattling Spears: Ann StephenIan Mclean, rattling spears: a history of indigenous australian art, reaktion books, london, 2016, 296 pages, AU$59.99 — **8 On *Rattling Spears*: Ann Stephen**
Ian Mclean, *rattling spears: a history of indigenous australian art*, reaktion books, london, 2016, 296 pages, AU$59.99

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