The eccentric shape of Normana Wight’s Untitled yellow-green 1970 is typical of the experimentation seen in Australian art during this period. This modular work is a screenprint on canvas, and makes a strong connection to Wight’s printmaking practice for which she is most well known. The use of screenprinting ink has made the canvas appear soaked or stained, giving the work a matt texture and intensifying its colours. The fact that the work is a screenprint rather than a painting — and therefore reproducible — could be seen as subverting the idea of the importance of the medium of painting and, by extension, the artist’s hand.