This volume opens with Joakim Goldhahn, Sally May, and Jeffrey Lee’s study of renowned Badmardi artist Nayombolmi, best known for his rock art but here considered as an artist who produced a number of bark paintings for collectors in the 1950s and 1960s. They show us how his representation of public stories of Spirit or Ancestral Beings emerges from a negotiation between the artist, collectors, and dealers, shaping the forms in which he shared Badmardi story.