European and Koori creative histories are referenced in Day After Day via French-Romanian modernist sculpture and Southeast Australian possum-skin cloaks. The twin figures in Constantin Brâncuși’s The Kiss hold one another so intensely that they appear to have merged into a single form which sits atop the native pelts. An antique cannonball punctures the head of one of the figures, capturing the moment of violence that severs their love story. By presenting Murrangurang, a red-and-yellow ochre painting of hearts, alongside Day After Day, Harris declares that, despite the horrors of British colonisation and its continuing legacies, Aboriginal love will always emanate from these lands.

—curatorial wall label Samstag Museum of Art