Jartti kari mukku ajjulunginyi / Other People’s Property (O.P.P.)

Boxer, scrapper, parry—Archie Moore’s work moves through the tropes assigned to him, resisting, reworking, refusing.

Elizabeth Day resurrects Parramatta Female Factory’s vanished solitary wing at Wollongong Art Gallery, knotting trauma, carceral memory, and the unfinished business of colonial reckoning.

Liang Luscombe’s artful syntax of pastiche and puppetry interrogates the objectification of Asian femininity, collapsing Cartesian boundaries between human, artefact, and cinematic stereotype.