Both Sides Now

In a tokyo gallery usually reserved for the painterly impressions of Renoir's bathers, Monet's water lilies and Van Gogh's windmills, a group of white-gloved, green-uniformed installation specialists have gathered round the much earthier canvas of Judy Watson's Aboriginal Shield, which has come all the way from Wollongong. Around the corner, Ken Thaiday Senior's tiger-shark headdress occupies a cabinet where early Greek and Egyptian antiquities are normally housed. But this day the biggest impression comes when Patricia Piccinini's mutant possum sculpture emerges—bearing impossibly lifelike wrinkles, hair and fangs—from its packing box. "With this work, we are now starting a new...

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