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This article presents and analyzes the construction and performance of Australian Aboriginal cultural practice, a sandpainting, at a major art exhibition at the Asia Society in New York. Drawing on an ethnography for which anthropological knowledge is part of the event itself, I examine the multiple constructions of Aboriginal identity in the performance. Such intercultural performances represent an important form of cultural production and constitute salient contexts for the contemporary negotiation and circulation of indigenous peoples' identities. The focus of the analysis is on the unsettled and pragmatic quality of the performance as a form of social action, emphasizing the goals and trajectories of the differing participants and the specificities of context and discourses involved. [Australian Aborigines, performance, intercultural, identity]

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In the early 1970s, the Aboriginal artist and activist Wandjuk Marika asked the Australian government to investigate the unauthorized use of Yolngu clan designs on a variety of commodity forms, inaugurating a process of recognizing Indigenous ownership of “copyright” in such designs. This treatment of design—and of culture—as a form of property involves understandings and practices of materiality and subjectivity that differ from those informing indigenous, Aboriginal relationships to cultural production and circulation. In this article I explore the significance for material culture theory of recent work on and events in the development of notions of cultural property. One of my main concerns is the relevance of local understandings of objectification, or objectness, and human action—as embedded in object‐ideologies. I discuss the limited capacity of legal discourses of cultural property to capture and reflect the concerns of Indigenous Australians about their own relation to culture, to creativity, and to expression.