My first thanks to the artists and community members represented here, for
entrusting me with their work, and the Art Centre directors, managers, and
art workers who facilitated this project, including, from Tangentyere Art-
ists, Margaret Boko Nampitjinpa, Sally M. Mulda, Rhonda Napanangka, and
Louise Daniels specifically, as well as Liesl Rockchild, Sue O’Connor, Sia Cox,
and Jo Byrne; Yarrenyty Arltere artists Marlene Rubuntja, Dulcie Sharpe,
Louise Daniels, and Louise Robertson specifically, as well as Sophie Wallace;
from Tjanpi Desert Weavers, Nyurpaya Kaika- Burton, Katatjuku Mary Pan,
Iluwanti Ungkutjuru Ken, Niningka Lewis, Euince Yunurupa Porter, Judith In-
yika Chambers, Yaritji Young, and Janet Forbes specifically, as well as Michelle
Young, Linda Rive, Clair Freer, Karina Menkhorst, and Jo Foster (especially);
Tjala artists Rhonda Unurupa Dick, Katatjuku Mary Pan, Nyurpaya Kaika-
Burton, and Frank Young specifically, as well as Skye O’Meara; Warnayaka Ab-
original Arts and Aboriginal Cultural Organisation artists Molly Napurrurla
Tasman, Rosie Napurrurla Tasman, Lily Nungarrayi Hargreaves, Myra Nun-
garrayi Patrick, Lynette Napangardi Tasman, Yulurrku Zina Nangala Kelly,
Lava Nangala Kelly, and Gwenyth Napanangka Tasman specifically, as well as
Louisa Erglis and David Erglis; Warburton Arts Project artists and Gary Proc-
tor specifically, as well as Albie Viegas; Carly Davenport, Tim Acker, John Carty,
and Curtis Taylor, previous team members of Yiwarra Kuju: The Canning Stock
Route, and Molly Hewitt of FOrm.
To Wanta Steve Jampijinpa Patrick and Lynette Napangardi Tasman I owe
specific acknowledgment not only for translations, poetics, and correctives but
for enduring commitment to me, my family, and my research.
To Desart Inc. executive officer Philip Watkins and Michele Culpitt (senior
program manager), for formal collaboration underpinning this research
through the public platform Same but Different: Experimentation and Innova-
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