Abstract
This research presents an overview of the state of San art in South Africa, using The!Xun and Khwe Art Project as a case study. Issues relating to primitivity, representation and the San's encounter with modernity are integrated into an analysis of how, and for whom, contemporary San art functions. Examples are drawn from Australian indigenous art to illustrate how the creation of a code of conduct could serve to protect San artists, art dealers and NGOs, and mobilise self-sustaining art projects for the communities involved.