[10:46 p.m., 2021-11-12] Gurleen Kaur: , was preparing for a May 2019 meeting with the artists and elders on the Collective's board . Prior to joining the APY Art Centre Collective , O'Meara had worked in various roles in the Indigenous art industry for over a dozen years ( see Exhibit 1 ) . She joined the Collective in 2017 , and by 2018 , was immersed in opening the Collective's first gallery , in Sydney , more than 2,500 kilometres from the APY communities . Now , barely a year later , the board ( see Exhibit 2 ) wanted to open another gallery , this one in Adelaide , in large part because Adelaide was closer to the APY Lands and a large contingent of APY community members lived in or visited Adelaide at any one time . O'Meara shared the board's excitement about starting a gallery that could a [10:48 p.m., 2021-11-12] Gurleen Kaur: In the late 1930s into the 1940s, the Australian government supported mission organizations in establishing settlements on the lands. The clans slowly settled into seven communities around the missions, although it wasn't until the 1950s that the last clans settled down. Many of the elders on APY Lands had memories of the pre- contact period. Their parents spent most of their lives with no contact with the "whitefellas ,and the elders themselves remembered both the " walking around time" (when clans were nomadic) and the early period of settlement. By 2019, the economic and health conditions on the Lands were dire. Sedentary life combined with poverty had led to significant health problems. Obesity was endemic due to a combination of food insecurity and the [10:49 p.m., 2021-11-12] Gurleen Kaur: art awards . \$100, Nationally ; a handful of recognized APY artists could command or more for canvases , and established galleries in the big cities competed to showcase their art . For the other artists , distribution choices were few and risky because unscrupulous dealers travelled to Adelaide and the art centres to [10:50 p.m., 2021-11-12] Gurleen Kaur: purchase canvases for tiny amounts , offering " day rates of $ 20 or $ 100 for quick paintings , then re - selling the work without attribution , royalties or fees throughout urban Australia . Some dealers even set up painting sheds located in and around Alice Springs and paid young artists a few dollars a day to work in the painting sheds and create cheap reproductions of famous works . O'Meara explained : Carpetbaggers do not often come to the Lands ; they lure artists into their sheds or sweat shops with a promise of fast income . They often exploit vulnerable , disadvantaged families living in extreme conditions , and they take advantage of the lack of numeracy and literacy skills and family social challenges .... Fake works are also produced in these [10:52 p.m., 2021-11-12] Gurleen Kaur: Burton went on to talk about sorry camps , " another cultural practice that had evolved . When someone died , the clan dropped everything and gathered in the desert for a week or more to mourn , tell stories , and bury their relative . A newer tradition involved placing yellow plastic flowers on the coffin and on the grave . These yellow flowers were a prominent feature of the canvas the APY Art Centre Collective gave to the Christchurch mosque . The canvas was painted in a weekend by a group of women artists , old and young . After conversation about the massacre and the goal of the canvas , about sorry camps and grieving , about the connections they saw and felt , two or three of the elders painted the basic scaffolding the black lines in the picture and [10:54 p.m., 2021-11-12] Gurleen Kaur: BIG To circumvent the carpetbagger art dealers and support emerging artists, the APY An Centre Collective decided to open its own gallery. The Collective's goals were command higher prices, build the reputations of emerging artists, protect them from unscrupulous dealers, and channel more money back to the APY Lands. The elders envisioned not just a gallery space but an urban version of an art centre-a space that would provide support for the APY community members in the city, a communal studio, a launch pad for emerging artists, and an economic engine that would send money back to the APY Lands. The brick- and-sortar APY An Centre Collective gallery would also provide a rich experience for ast buyers by creating opportunities for customers to view and buy f [10:57 p.m., 2021-11-12] Gurleen Kaur: To fund the gallery dream, the Collective applied for government and private support while also raining seed money by producing and selling allstar After struggling to find philanthropic or government support to open in Adelaide, the APY Art Centre Colloctive received a offer to match the Collective's need money if the art centre would open its gallery in SydneyMuch larger and wealthier than Adelaide, the Sydney region had population of more than 5 million residents, a diverse array of firms many with global and a burgeoning art sceneFurther, Sydney was located in the state of New South Wales, the richest poploss Australia's Sydney was more than 2,500 kilometres from the APY Lands, and although it was home to an extremely diverse population, it had virtually [10:58 p.m., 2021-11-12] Gurleen Kaur: that she could manage SydneyAdelaide, digital marketing, and the tours, especially given the large distances involved and her commitment to the to spend as much as 40 per cent of her time on the Lands With all this in mind, argued that she should stay in Sydney to develop both the Sydney online customer base, using any extra time to work on special projects such as the tours. She was confident that in one or two more years, she could develop the gallery and its online store into a reliable source of income and reputation for the APY communityOnce strong foundation was place and online, the time would be right to open an additional gallery in Adelaide. But the elders been dreaming about a gallery in Adelaide for nearly decadeA large APY community in Adelaide