The paintings in Bringing Home Baby depict the meeting of innocent babyhood with prevailing, if idiosyncratic, culture. In each work, a baby is confronted by the foreign and intensely detailed culture of a family home: Germaine Greer’s The Female Eunuch on the floor or the 1970s American sitcom Flying Nun on TV; two men happily knitting; a sunburnt dad barbecuing; a bejewelled mom sunbathing; a blue teen in angst; a tattooed mother in a swim cap; and a buttoned-up father in a monkey hat. The walls are hung with art: a Basquiat, a black velvet nude, a Klimt, a bullfighter. The Surrealist quality of these domestic scenes evokes the strangeness of a baby’s new world and is suggestive of the complex processes by which culture defines and imposes the identity that will shape a baby’s life.