Owen Rye’s autumn exhibition, A Daedal Gallimaufry, curated by Skepsi’s Anna Maas, was a tour de force in many ways, not least in its fortuitous timing. The bushfires were doused, finally, and the virus a low whisper (in Australia) at the time of the show’s opening. By its close, there was leisure and calm enough – just – for keen buyers to venture out to Eltham’s Montsalvat to collect their treasures. The show’s final day marked almost the last of what we once called ‘normal life’.