1 Olleywood CHRISTINE FRANCE   View of the ‘yellow room’ at the Margaret Olley Art Centre; image courtesy Tweed Regional Gallery, Murwillumbah

1 Olleywood CHRISTINE FRANCE

View of the ‘yellow room’ at the Margaret Olley Art Centre; image courtesy Tweed Regional Gallery, Murwillumbah

  2 Connecting the threads of string theory SARAH PIRRIE   Dale Harding,  bright eyed little dormitory girls (detail), 2013, hessian sacks, mohair wool; image courtesy and © the artist

2 Connecting the threads of string theory SARAH PIRRIE

Dale Harding, bright eyed little dormitory girls(detail), 2013, hessian sacks, mohair wool; image courtesy and © the artist

  3 An ongoing state of conflict: Richard Mosse’s The Enclave SUSAN GIBB   Richard Mosse,  Higher Ground , 2012, still from The Enclave, 2012–13; 16mm infra-red film transferred to HD video, 39min:25sec; produced in eastern Democratic Republic of Congo; director/producer Richard Mosse; image courtesy and © Richard Mosse, and Jack Shainman Gallery, New York

3 An ongoing state of conflict: Richard Mosse’s The Enclave SUSAN GIBB

Richard Mosse, Higher Ground, 2012, still from The Enclave, 2012–13; 16mm infra-red film transferred to HD video, 39min:25sec; produced in eastern Democratic Republic of Congo; director/producer Richard Mosse; image courtesy and © Richard Mosse, and Jack Shainman Gallery, New York

  4 Animating Atua: In the presence of Polynesian gods MARGARET JOLLY    Ancestor figure, part of a pou-tokomanawa , mid- to late 19th century; Māori, Aotearoa/New Zealand, southern Polynesia; attributed to Raharuhi Rukupo; wood, 80 x 26.5 x 20cm; NGA, Canberra; © NGA; all rights reserved

4 Animating Atua: In the presence of Polynesian gods MARGARET JOLLY

Ancestor figure, part of a pou-tokomanawa, mid- to late 19th century; Māori, Aotearoa/New Zealand, southern Polynesia; attributed to Raharuhi Rukupo; wood, 80 x 26.5 x 20cm; NGA, Canberra; © NGA; all rights reserved

  5 Then and now: The Stanley Gordon Moriarty Collection of Papua New Guinea Highlands art Susan Cochrane   Dancers wearing contemporary gaheisi (ceremonial dance banners), Goroka Show, 2011; photo: Natalie Wilso

5 Then and now: The Stanley Gordon Moriarty Collection of Papua New Guinea Highlands art Susan Cochrane

Dancers wearing contemporary gaheisi (ceremonial dance banners), Goroka Show, 2011; photo: Natalie Wilso

  6 ‘Navigation Pacifica 2013’: Community as subject KON GOURIOTIS   Israel Tangaroa Birch,  Ara-i-te-uru , 2011, lacquer on stainless steel, 150 x 150 x 900cm; image courtesy of City Gallery Wellington; photo: Andrew Beck

6 ‘Navigation Pacifica 2013’: Community as subject KON GOURIOTIS

Israel Tangaroa Birch, Ara-i-te-uru, 2011, lacquer on stainless steel, 150 x 150 x 900cm; image courtesy of City Gallery Wellington; photo: Andrew Beck

  7 Future primitive and fugitive ELIZABETH GERTSAKIS   Rohan Wealleans,  Keepers of the Crystal gaze , 2013, colour photograph, edition of 3, 1 AP, 60 x 48.6cm; courtesy the artist and Ivan Anthony Gallery, Auckland

7 Future primitive and fugitive ELIZABETH GERTSAKIS

Rohan Wealleans, Keepers of the Crystal gaze, 2013, colour photograph, edition of 3, 1 AP, 60 x 48.6cm; courtesy the artist and Ivan Anthony Gallery, Auckland

  8 Silver convention MAURICE O'RIORDAN   Michael Cook and Ari Athans,  Past, Present, Future  (detail), 2013; courtesy Museum of Brisbane

8 Silver convention MAURICE O'RIORDAN

Michael Cook and Ari Athans, Past, Present, Future (detail), 2013; courtesy Museum of Brisbane

  9 Foreshadowing things to come: Western Australia’s state of art ANDREW PURVIS   Mounir Fatmi,  Save Manhattan 01 , 2003–04, books, strings, spotlight and table, 68.5 x 150 x 90cm; State Art Collection, Art Gallery of Western Australia, Perth, purchased 2013; © Mounir Fatmi, 2003-04

9 Foreshadowing things to come: Western Australia’s state of art ANDREW PURVIS

Mounir Fatmi, Save Manhattan 01, 2003–04, books, strings, spotlight and table, 68.5 x 150 x 90cm; State Art Collection, Art Gallery of Western Australia, Perth, purchased 2013; © Mounir Fatmi, 2003-04