Resumen
In the early years of the discovery of Indigenous bark paintings in Australia, anthropologists regarded this artform as part of a static and unchanging tradition. Inspired by the images of Arnhem Land rock art and ceremonial body design, the bark paintings were innovatively adapted by Indigenous Australians for the bark medium. Today, this art is recognised for its dynamism and sophistication, offering a window into how the artists engaged with the world. Within the context of recent art and anthropological scholarship, the paiFntings are understood as artefacts of Indigenous ?agency?. They are products of the intentional action of artists through which power is enacted and from which change has followed. This paper reveals how the paintings were influential to their audiences and the discourses arising from their display through the agency of the artists who made them, and the curators who selected them. It underlines how Indigenous agency associated with the aesthetic and semantics values of bark painting has been and continues to be a powerful mechanism for instigating cultural, social, economic and political change. As such, it points to the wealth of Indigenous agency yet to be documented in the other collections of bark painting that are held in institutions in Australia and throughout the world.