This year's Darwin Aboriginal Art Fair gathered more than 75 stalls from Aboriginal art centres, each showcasing art, fashion and design rooted in the cultural histories of communities across Australia.
Marking the Fair's 20th anniversary, executive director Claire Summers told National Indigenous Times it was "a beautiful process to reflect on the DAAF's beginnings of just 16 art centres in a hotel lobby to what it has evolved into today".
That evolution is on display in the diversity of work and art centres brought together under one roof. As Ms Summers puts it, Australia is a nation of nations.
"We have mobs coming from the Torres Strait Islands, from the Pilbara, from deep in the Central Desert to the coastlines of Arnhem Land and right down to Victoria as well," she said.
The distinct cultural histories art centres carry were typified at the Waringarri Arts stall, from Western Australia's East Kimberley region.
Waringarri Arts Centre gallery assistant Patria Griffiths told National Indigenous Times she felt "incredibly proud to be showcasing her family's paintings to such a big audience at DAAF".
Ms Griffiths explained the cultural meaning behind her grandfather Chris Griffiths' painting on display.
"This painting is Bali Bali Balga, a traditional dance we do in the Ngarranggarni culture, along with Miriwoong culture," Ms Griffiths said.
"My grandfather made the painting and depicts the story of an evil spirit that came down from the hill at Keep River and appeared in my great-grandfather's dream.
"The spirit tried to lure his daughter away from the camp and back into the hill. These are the Balmarra that we dance with as part of the story."
A short walk from the Waringarri stall, the Arlpawe Art and Culture Centre from Kayteye Country in Ali Curing, Central Desert, draws visitors into its paintings.
Arlpawe Art and Culture Centre worker and artist Quincy Stevens told National Indigenous Times "it has been a privilege to bring our painting out to DAAF to show the whole country".
Mr Stevens said painting in the Desert is a natural way for the community to share stories.
He recalled the best years of his life were spent learning to paint from his Grandmother.
Artistic Director Simon Carmichael celebrates DAAF's role in giving artists from remote regions a platform.
"A huge part of what we do here at DAF is also about providing platforms for artists and art centres to showcase their work on their own terms, and storytelling is so critical to this," Mr Carmichael told National Indigenous Times.
