While the impetus towards decolonization presents significant issues for more institutionalized forms of curating and how they attend to Indigenous cultural content, equally, this situation presents distinct opportunities to establish alternative forms of curatorial practice that engage with inter‐cultural knowledge exchange through collaboration with Indigenous communities. We offer here a contextual framing of a series of interconnected design events and exhibition outcomes that originated from an invitation to creatively ‘map’ an Aboriginal owned station property in southern New South Wales, Australia. Curatorial Design will be used to encompass the mix of disciplinary knowledge that this creative research project calls upon along with interdisciplinary approaches employed that draw from (but are not limited to) practice‐based methods from art and design, especially spatial practice, as well as archaeology, anthropology, cartography and ethnography. This overarching term has been adopted in an effort not to pigeonhole the nature of thinking or doing that the creative curatorial practices detailed in this article entail, either of the participants involved in the project or outcomes resulting from the collaborative processes discussed herein. As the opening, scene‐setting entry of the Interpretive Wonderings Portfolio*, this article identifies the contexts within which the project situates itself – between Indigenous and Western knowledge systems; disciplinary and interdisciplinary “know‐how”; theory and practice – in order to establish the positions of the four chief protagonists directly engaged in the project in relation to this ‘cultural interface’. It sets out some of the shifts in understanding of these positions and in particular the ways that the original project’s framing through critical cartography was both facilitated and transformed in turn through consideration of Aboriginal ontologies. These evolving positions and their relationships to each other are articulated in a series of abbreviated individual reflections provided at the conclusion of this project overview. *The Interpretive Wonderings portfolio comprises a set of interrelated writings that attempt to provide a distinctive, multi‐perspectival account of this creative research project. In addition to this contextual piece, other articles include: a compilation of short texts that offer reflective analyses from the different perspectives of the project’s curatorium and principal researchers, Sophia Pearce, Campbell Drake, Jock Gilbert and Sven Mehzoud (Drake et al. 2019b, this issue), and individual research‐led articles by Gilbert (2019, this issue) and Mehzoud (2019, this issue). Read individually, each designated article presents a focused inquiry (depth); taken together as a curated series, they provide the reader with the opportunity to gain a comprehensive overview (breadth) and appreciation of the project’s guiding aspirations, objectives and outcomes that amounts to more than the sum of its discrete parts.

This article offers four reflective commentaries on Interpretive Wonderings*, an intercultural community engagement, art and exhibition project. It consists of three interrelated events: the Mapping Culpra Station Workshop, the Interpretive Wonderings exhibition and the Migratory Wonderings exhibition. All were shaped by the coming together of community and creative practitioners on the land of Culpra Station, New South Wales, Australia, in order to work beside local Aboriginal people to learn and share, and to generate creative responses from this experience. The four personal reflections included in this compilation offer multiple perspectives on the Interpretive Wonderings project and draw on the four project leaders’ roles as well as various disciplinary and cultural backgrounds. They include a collaborator’s indigenous viewpoint, transformational experiences that brought about a different understanding of landscape, and observations on the project’s curatorial and exhibition processes and practices. *Editorial note: The Interpretive Wonderings Portfolio comprises a set of interrelated writings that attempt to provide a distinctive, multi‐perspectival account of this creative research project. In addition to this research piece, other articles include: a co‐authored contextual overview which situates the project in theoretical and practical terms (Drake et al. 2019a, this issue) and associated research‐led articles by Gilbert (2019, this issue) and Mehzoud (2019, this issue). Read individually, each designated article presents a focused inquiry (depth); taken together as a curated series, they provide the reader with the opportunity to gain a comprehensive overview (breadth) and appreciation of the project’s guiding aspirations, objectives and outcomes that amounts to more than the sum of its discrete parts.

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Located in the eastern province of Nusa Tenggara Timur (West Timor), Rote Ndao is an island of 120,000 residents that can be accessed via ferry from the West Timorese capital of Kupang. Prior to East Timorese independence in 2002, Kupung saw direct international flights from Australia, since redirected through Bali and Jakarta. Rote Ndao is traditionally focused on subsistence farming and the harvesting of the Lontar Palm; however, recent years have seen an influx of foreign interest as domestic and international investors buy up large tracks of beach front property. White sand beaches and world class surfing, Rote is a quintessential island paradise and many are predicting that this remote part of eastern Indonesia will become the new Bali of the 21st century.

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