“The big drawings and prints of the 1980s are both an extension and negation of his performance practice. By that I mean that he felt he had to escape performance art in the 1980s because it had become too popular.
“It was a real undertaking! We started talking and emailing around two years out, thinking about how an exhibition like this could be approached. Mike has been working as an artist since 1970 but he’s always been a contemporary artist, and always disruptive, so a conventional survey wasn’t ever going to work. In the end we put a checklist together as did the artist, and the exhibition developed from there.
“Mike was very involved in every part of the process, he was very determined. Sometimes it was really hard but I think it will be worth it. Mike is a very important artist in the Australian cultural landscape. His work is difficult and divisive, it is often hard to look at, but it can also be very delicate, infinitely perceptive and surprisingly poetic.”
“Mike’s first show there was called Word Situations, which comprised typewriter pieces installed on the walls and windows. Inhibodress only ran for two years but it was influential. Along with Pinocotheca Gallery in Melbourne, it really introduced conceptual art (idea art), video art, and performance art to Australian audiences.