In the mid 1990s, we developed large paintings that placed fragmented images from art history within aerial views of cities, ports, airports—scenes of globalization—in fastidiously painted trompe l’oeil (hyper-illusionistic, highly skilled realist painting), depicting the moral dimension of recent history. We developed in art the theories of white Australian guilt that Green was investigating in my book, Peripheral Vision (1996), the first scholarly history of Australian postmodern art. In painting, we were exploring the globalization of western culture by inventing “occidentalist” images, taking the method of the tattoo, imported from Europe’s journeying to the Pacific, as a clue to how to layer images of journeying on top of images borrowed from the history of oil painting.