When I walked into the darkened Kirk Gallery, I was surprised to find tears in my eyes. It was an immediate, and visceral, reaction. A simple effect: dimming the room’s lights to enable Ngahuia Harrison’s (Ngātiwai, Ngāpuhi) light-box photographs to shine as beacons. In particular, a kuia, Aunty Reo (2018), was positioned in the sight line of the doorway to beckon me in. Her image was there, enveloped in the room alongside landscapes of the rohe (boundary), and opposite another kuia,

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