Introduction to ten essays commissioned by Ben Eltham

An analysis of Aboriginal conceptions of time and its similarity to the ideas of modern physics, science fiction, and those of artists such as Monet, Cézanne, Picasso, Breton, Klein and Richter, and philosophers such as Nietzsche, Heidegger, Benjamin, Deleuze and Derrida. They too have sought to feel and know spacetime in the pressing and intimate way that Aborigines do.

In this article Djon Mundine poses a prolific and detailed insight into the world of art in relation to what art is, how can it be judged and as a re-occurring theme, the alleged honesty in contemporary art. Mundine predominately focuses on Aboriginal art and the political, ethical and criterial implications modern society imposes on it. That is to say what can be deemed an honest work of art that expresses the artists intentions but also allows the artwork to speak for itself. Mundine talks about indigenous artwork and how it was viewed by the original colinisers of Australia. Particularly how the colinisers set down criteria towards what a valuable artwork was. Further elaborating on competitions whereby artworks are judged in accordance to rules that pose more questions in relation to what an honest or pure artwork is. Mundine cites several quotations that portray interesting examples that reinforce his argument towards modern day criticism and objectivity. The final message being to what extent can any one person be declared appropriated to criticising artwork and judging its authenticity, quality and honesty. Mundine states that we should only hope for honesty in today's artwork irrespective of its outside marketed criticism. All in all Mundine presents the reader with an insightful article that will leave you questioning the integrity of today's critical approach to fine art.

Joe Felber's art practice is interdisciplinary and acquisitive, absorbing, assembling, composing and de-composing, playing and re-playing elements from a vast collection of fragments collected across the world in cities and art galleries.

Susan Milne, Izabela Pluta, Annie Hogan and Hannah Bertram work with the idea of the theatre of decline set within the grounds of the domestic environment.