negotiations regarding a portion of Fraser Island. As of 2014, this claim has been successful. In 2017 Foley completed a Doctorate of Philosophy. Her research focused on the Aboriginals Protection and Restriction of the Sale of Opium Act 1897. A number of her artworks have referenced this act and its effect on the Badtjala people. Her thesis was subsequently published by University of Queensland Press as Biting the Clouds, which won the 2021 Queensland Premier's Award for a work of State Significance. Career and artistic practice Community engagement is pertinent to Foley's art practice. She contributed to the emergence of urban Australian Indigenous Art through her participation in the seminal Koori '84 group exhibition. Following this, she was involved in the foundation of several artist co-operatives and initiatives. These include the Boomalli Aboriginal Artists Co-operative and artist exchanges and collaborative workshops between Badtjala people and artists from Maningrida & Ramingining. More recently Foley’s involvement in the arts community has extended to curatorial roles. In 1994 she co-curated Tyerabarrbowaryaou II - I shall never become a white man for the Havana Biennial alongside Djon Mundine. This was the first international exhibition to be curated by Indigenous Australians. Political issues are central to Foley’s practice. Her works in public art and installation aim to examine and redress previously disregarded histories of colonisation in Australia. One such example is Edge of the Trees, a 1995 collaboration with Janet Laurence - the first major public artwork by both an Indigenous and a non-Indigenous Australian artist. In 1995 it was awarded the Lloyd Rees Award for Urban Design. The work utilises both Western and Indigenous iconographies to evidence historical conflict - both on its site (the Museum of Sydney, formerly Australia’s first Government House) and across Australia. Pukumani or tutini (funerary) poles contrast Sydney’s urban landscape and memorialise the violence that shaped early interactions with settlers on the city’s shore. Foley’s Land Deal (1995) and Lie of the Land (1997) serve as evidence and a reminder of John Batman’s now-invalidated treaty for 600,000 acres of Wurundjeri land (where Melbourne currently stands), and its basis on false premises. Similarly, Witnessing to Silence (2004) remembers all known massacres of Indigenous people within Queensland, listing 94 such sites. The corpses on these sites were hidden either by burning or submerging in bodies of water. Foley engaged in some chicanery to ensure the work’s installation, telling its commissioners (Brisbane