This painting was included in the first exhibition of women painters from Papunya Tula Artists to be held outside of Alice Springs in November 1996. Papunya Tula Artists’ manager Daphne Williams had allowed John W. Kluge’s then-curator Margo Smith to preview the works, from which she acquired five important pieces. Smith recalls:

Daphne Williams and Janis Stanton probed me to discover more about Kluge’s enigmatic collection, recalling his memorable visit to the Papunya Tula gallery in 1989. As if letting me in on a tightly held secret, they unfurled a roll of canvases and awaited my reaction. This was a collection of the first paintings by women from Walungurru and Kiwirrkurra, who were on the precipice of emerging as stars. What I saw dazzled me with its passion and immediacy. . . Inyuwa Nampitjinpa’s painting packs a punch. The dots, which had become synonymous with desert painting, are more like dabs, overlapping one another with no apparent definition. White mounds, representing a place where a group of ancestral women ground tiny seeds to make dense cakes, seem to hover above the painting’s gold surface, as if they will momentarily take flight. Are they the grind stones or the seed cakes, or possibly the women themselves? Or all three, simultaneously, exemplifying the multiple layers of meaning in ancestral stories? Paintings like this one fairly ring with the sounds that accompany women’s work, the companionable chatter, fading into whispers when talk turns to sensitive subjects or gossip, and songs recounting deeds of the old people who enlivened the Country.