Helen McDonald (Erotic Ambiguities, 2001) wrote, “By reinventing painting as a discursive process of hybridization, Brown and Green rebuffed the 1980s prejudice against the medium”. In feature essays in The Age and then in Meanjin, famous novelist Alex Miller argued (“Artist as Magician”, 2003) that we reimagined the Australian artist’s place in European culture. Renowned author Peter Conrad, in the culmination of his 2003 book, At Home in Australia, wrote of my “glimpses of Australia’s unconsciousness, and possibly previews of the society that is in the process of becoming.” Opening a 2001 exhibition of their collaboration with Patrick Pound, Alex Miller said, “I left these three artist’s houses of illusion, their houses of mirrors, reluctantly, with a mixture of gratitude, excitement and envy.  Their gathering of strange/familiar fragments, the culinary ambiguities of their work, the peculiar vertigo of illusion within the sanctuary of their studios, where the sacrilegious acts of the obsessional had begun to make a kind of poetic sense to me.  The contradiction at the heart of their project mirroring the contradiction at the heart of our culture.  Every gain a loss.  Each image a portrait likeness of the self, the observing, curious, intelligence.”