The expanding praxes of Indigenous curatorial and conservation roles in Australian art museums is shaped by an active response to, and challenge of, power imbalances, along with the tension between who is writing history, which artists are collected, and how both are talked about and displayed in the present. We write this essay as Aboriginal relations from the Southeast region, from Ngiyampaa territory in the northwest of New South Wales (NSW), to Bundjalung and Yuin Country within the northern and southern coastal areas of NSW. We also write as a Blak curator and conservator of Aboriginal and Torres Strait Islander art at one of the country’s leading and largest collecting institutions, the Art Gallery of New South Wales (AGNSW)...