The Importance of Being Anachronistic: Contemporary Aboriginal Art and Museum Reparations delves deeply into the intersection of time and contemporary art, employing anachrony as a potent tool to challenge and subvert the constraints of the colonial archive. At its heart lies Julie Gough's transformative exhibition, The Lost World (Part 2) which provocatively intervenes within the Cambridge Museum of Archaeology and Anthropology.

This groundbreaking project is illuminated through compelling essays authored by Julie Gough herself, alongside contributions from Dacia Viejo-Rose, Ellen Smith, and Christoph Balzar. The visual narrative is enriched by the evocative photography of Mark Adams, capturing the essence of Gough's intervention. Nicholas Thomas provides a foreword that contextualises the significance of this endeavour within broader discourses of museum practice and Indigenous rights.

The Importance of Being Anachronistic emerges as a critical exploration of how contemporary Aboriginal art navigates temporalities to reclaim, reinterpret, and reimagine Indigenous histories within the fraught landscape of museum representations and reparative justice.