As an 11 year old the Wemba Wemba, Gunditjmara, Italian and Chinese scholar and artist Paola Balla was asked by her Calabrese father “why don’t Aborigines just work hard and move forward like us Italian migrants have?” (Balla, 2019, p. 18). When she was asked a variation of the same question decades later by another Italian migrant in a public forum, Balla had a profound answer. Despite self-satisfaction with their legacies, these migrants (Italian and otherwise) actually still had significant work to do. More specifically, they needed to undertake the vital task of unknowing so-called Australia. Such work would begin with “Unpacking and dismantling where their racist attitudes towards Indigenous Australians emanates from”, but entails much more. (Balla, 2019, p. 22) Among other things, Balla pointed to the need for migrants to examine in depth their “complicity in racism, capitalism and various forms of violence” and at the same time to listen “to Aboriginal women artists and activists’ practices of resistance, such as naming traumas and critiquing structural oppression. By situating the art and activism of Aboriginal women a space is created in which to consider endurance and resistance: a space for culture, beauty, truth and love” (Balla, 2019, p. 25).