In the suspended time of 2020, it seems permissible to review an exhibition that opened six months previously, closed nearly two months ago and which I never managed to view in person. While these may be less than ideal conditions, they have allowed multiple repeat visits over time via the Bendigo Art Gallery’s online “walk through” video and interactive panoramas of the exhibition installation as well as a more leisured reading of Tansy Curtain and Catherine Speck’s well researched and reassuringly tangible printed catalogue. And this in turn has afforded greater time for reflection.