Park(ing) Day has become an international phenomenom since its inception in 2005. Gretchen Coombs explains how this urban intervention questions the use of public space and reimagines how urban public spaces can be repurposed to benefit local communities.

The wellbeing of higher degree research (HDR) students, or postgraduate students during the COVID-19 pandemic has been of concern. In Australia, international students have queued for food parcels, while headlines report stark drops in international enrolments and the financial bottom line of universities. We undertook a pilot study using ethnographic interview methods to understand the lived experiences of current international and domestic HDR students at an Australian university in Melbourne, from June to August 2020 (n=26). In this paper, we discuss domestic and international students’ experiences during the pandemic. International HDR students faced similar challenges to domestic students, but experienced further stressors as temporary migrants. We discuss their experiences in relation to resilience, understood as a relational and collective quality. We suggest that institutions develop policies and programmes to address resilience and build students’ sense of belonging and connection, informed by how students cope with challenges such as COVID-19.

The Gallery of Modern Art (GoMA) in Brisbane, Australia’s third largest city, recently staged ‘21st Century: Art of the First Decade’. The gallery spaces were replete with a commissioned slide by Carsten Höller, an installation of Rivane Neuenschwande’s I Wish Your Wish (2003), a table of white Legos, a room of purple balloons and other participatory or interactive artworks designed to engage multiple publics and encourage audience participation in a variety of ways. Many of the featured projects used day-to-day experiences and offered new conceptions about art practice and what they can elicit in their public – raise awareness about local issues, help audiences imagine different ways of negotiating their environs or experi-ence a museum in a new way. At times, the bottom floor galleries resembled a theme park – adults and children playing with Legos and using Höller’s slide. This article examines the benefits and limitations of such artistic interventions by relating the GoMA exhibition to Brisbane City Council’s campaign of ‘Together Brisbane’ (featuring images of Neunenschwande’s ribbons); a response to the devastation brought to the city and its surrounds in January 2011. During the Brisbane floods, GoMA’s basement was damaged, the museum closed and upon reopening, visitor numbers soared. In this context, GoMA’s use of engaged art practice – always verging on the ephemeral and ‘fun’ – has been used to project a wider notion of a collective urban public. What questions does this raise, not only regarding the cultural politics around the social and participatory ‘turn’ in art practice, but its use to address a much wider urban public in a moment of crisis.

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