ABSTRACT
In this chapter, I present a history of Injalak Arts as well as a discussion of the ways artists (and others) have adapted the art centre template to meet the unique needs of the Gunbalanya township. The artists that I introduce in this chapter used Injalak Arts to shift cultural protocols governing who would make art (particularly, who would paint bark) and were forced to re-negotiate their relationships with senior artists in line with their own cultural knowledge. The title of this chapter stems from this on-going navigation of cultural protocols for young artists working at Injalak Arts.
