Painted in 2002 at Billiluna, Western Australia Warlayirti Artists, Wirrimanu, Balgo Hills, Western Australia
The Laverty Collection, acquired from the above in December 2003
Bonham’s, The Laverty Collection: Contemporary Australian Art, Sydney, 24 March 2013, lot 20
The Dennis and Debra Scholl Collection, Miami

Darwin, Museum & Art Gallery of the Northern Territory, 20th Telstra National Aboriginal & Torres Strait Islander Art Award, 16 August - 7 December 2003, cat. no. 15
New Plymouth, New Zealand, Govett Brewster Art Gallery, Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection, Sydney,15 December 2007 – 24 February 2008, additional venue: 
Newcastle Region Art Gallery, New South Wales, 5 July – 31 August 2008
Nevada, Nevada Museum of Art, No Boundaries: Aboriginal Australian Contemporary Abstract Painting, 13 February to 13 May 2015, and additional venues:
Portland Institute for Contemporary Art, Portland, 20 June to 16 August 2015
Pérez Art Museum, Miami, 17 September 2015 to 3 January 2016
Charles H. Wright Museum of African American History, Detroit, 18 January to 15 May 2016
Herbert F. Johnson Museum of Art at Cornell University, New York, 9 June to 14 August 2016

Henry F. Skerritt, ed. et al, No Boundaries: Australian Aboriginal Contemporary Abstract Painting, Prestel Verlag, Munich-London-New York, 2014, p.126-127 (illus.)

Synthetic polymer paint on two canvases, on stretchers, unframed. Bears Warlayirti Arts catalogue numbers 1202/02 and 1201/02 and PAMM label on reverse of canvases. Please note, there is minor scuffing around the edges of the work where the canvas meets the stretcher at the corners. Please note, the colour of this work is slightly lighter and brighter than depicted in the printed catalogue, please enquire for more details. Otherwise, the work is in very good condition overall with no visible evidence of repair or restoration. Please note this work has not been examined under ultraviolet light.
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In the later paintings, Boxer Milner’s renditions of Purkitji and its tributaries morph from the organic tendrils seen in earlier pictures into ziggurat-like lines and concentric squares, as in this diptych. In the art of the Western Desert, concentric square patterns and angular meandering lines are usually associated with the Tingari ancestors. Purkitji, 2002, may be read as a conceptual map of the waterholes along the course of Sturt Creek where each concentric square represents a named site. For a related work in the collection of the National Gallery of Victoria, see Purkitji (Sturt Creek), 2004, in Ryan, J. (ed), Colour Power: Aboriginal Art post 1984, in the collection of the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 2004, p.53 (illustrated).

WC