The public mythology of Ash Keating has been moulded around the hybrid figure of a “fine art” painter incorporating the techniques and procedures of “street art” (tags, throws, bombs, pieces, etc.). The result is abstract works that straddle the infinitely shrinking line between art, design, and decoration. This review of his current Melbourne exhibition seeks to highlight his superior approach to what we might term “expanded field pastoralism,” while placing it amidst the complex cultural transcoding between Street Art subculture and High Art superculture.