The main boundaries that were set in the contracts were around the issues that the art and its applications couldn’t include culturally sensitive material from Jimmy Pike’s perspective. That was still a whole area being worked out, even in the 1980’s. Decisions were being made in traditional communities about what aspects of Aboriginal culture could be discussed in the open, in the public domain, and what couldn’t.
Occasionally, there was one or two instances where other Aboriginal people from Jimmy’s group felt that images that he created were too exposing of a particular aspect of their culture. People weren’t comfortable with those images being in the public domain. In those cases they told him to withdraw it, and he withdrew it. Regardless of where it had got to in the process.
I think that this type of conversation was one that people who were working closely with Aboriginal groups were very familiar with. That was because one of the first things that happened in the early 1970’s, was that those very senior men had to decide what they could reveal in a painting. They were deciding on the appropriate level of information that could be communicated in a public artwork.
If a map was getting too specific then if wasn’t suitable for the public to see. If someone in the tribal area wasn’t permitted to see it and you put it in the public domain, and therefore it was possible for them to see it there, you had crossed a kind of line in your own culture that could be really troublesome. A lot of those discussions had been going on for more than 15 years by the time Jimmy Pike came to those same sorts of issues.