Describes the painting technique used by aboriginal artists. Bark sheets are stripped from one of the local stringy bark trees, <i>Eucalyptus Tedrodonta, dried over fire or on sand and painted with red, yellow, brown and black natural pigments plus white clay. The treeorchid bulb sap, <i>Dendrobium sp., is used as a binder. Wild bee wax, honey and the yolk of the eggs of the sea-going turtle, may also be added. One part of Bedacryl 122 X (40% solution in xylene, marketed by I.C.I. Ltd.) to five parts of toluene has proved to be very successful in fixing the paint design without creating undue gloss. One coat is applied in the field; another before storage or exhibition. Mould-infested bark paintings are sprayed with 2.5% solution of Santobrite in alcohol (sodium salt of pentachlorophenol, marketed by Monsanto Ltd.). Vacuum pressure was used to correct and flatten warped back supports slowly. A polythene membrane. 004 inch (0.1mm) thick is placed over the warped support and sealed to the vacuum table with packing tape. Pressure is applied very gradually to avoid splitting. The transparent polythene permits the operation to be watched. A P.V.A. co-polymer incorporating a plasticizer in its molecular structure when applied to the reverse of the painting helps to flatten. The P.V. A. is brushed on the back of the bark, a sheet of polythene placed on the vacuum table face up. Pressure is gradually applied for 2 or 3 hours. The bark is removed from the press and the polythene sheet peeled off. A wax mixture was poured into termite tunnelings in a large <ili hermaphrodite figure. Heat applied by infra-red lamps helped the wax maintain its liquid state. Broken portions were glued back using a copolymer P.V.A. adhesive with a high degree of tack. Losses were compensated by modelling missing parts from a wax-resin-kaolin mixture suitably colored.