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Notes
[1] This paper was prepared during an ARC Post Doctoral Fellowship at the Centre for Cross‐Cultural Research, ANU. It draws upon a wider research project concerned with the ‘hidden history’ of Aboriginal art in southeastern Australia. In undertaking this research I owe an immense debt to Lin and Joanne Onus, among others, for their generous advice and encouragement. Whilst every attempt has been made to ensure the accuracy of my findings and to contact all those involved, the author is willing to provide a free copy of the publication to those concerned with copyright clearance. Inevitably this research remains incomplete, and I would be interested in hearing from individuals who participated in these events and who may be in a position to contribute further information.