Pat Brassington’s recent show came in the wake of a thirty-year retrospective of her work that toured Australia starting in 2012 and running through this year. The Sydney event was a more modest affair, largely devoted to recent work: her 2013 series “In search of the marvellous” and four photomontages from 2014. Although Brassington emerged in the 1980s with a practice attuned to postmodernist appropriation and psychoanalytically informed feminisms, her method owes as much to modernist traditions such as Dada montage and Surrealism. Indeed, these days the artist is often described as Australia’s