project that brought Dada and Surrealist style performance work to centres along the north east coast of NSW. Described as "the offspring of a marriage between Fluxus and a local town council bookmobile", the Artsmobile brought a variety of art-based activities to schools, seniors centres and public parks. Continuing with her interest in community arts and also related to the questions raised by the Women's Art Movement, Binns developed Mothers' Memories, Others' Memories in 1978 during her artist's residency at the University of New South Wales. Beginning with staff and students of the university, Binns later expanded the project to the Sydney suburb of Blacktown, where she worked closely with Patricia Parker, a community officer at the Blacktown City Council. Mothers' Memories, Others' Memories recalled the "lives of women and their means of expression in the domestic sphere", through facilitating a space where participants could come and share stories of the various craft and needlework skills that they had been taught from their mothers and other members of their family. Described as "dense, fragmented, [and] multilayered" The final work was exhibited as a series of postcards installed on a postcard rack. The project continued until 1981. In 1983, Binns began work on her next major community art project Full Flight. Travelling and living in a caravan for two years in the Central West region of New South Wales, Binns stayed for two to four months in each town facilitating workshops, mural painting and skill sharing. This project celebrated "the creativity of ordinary people" Her interest in community arts came primarily from an urge to make the art world accessible to everyone beyond the constraints of art institutions. Binns believed that creative expression was an inherent part of the human experience, and not allowing for this expression freely was a form of "social control": In 1989, Binns began another community art project, The Tower of Babel, at the Watters Gallery. It started with 50 small dioramas, created by herself as well as friends, mentors, students and acquaintances, including Irene Maher, Mike Brown, Ruth Waller, Bonita Ely and Eugene Carchesio. The project is still ongoing as of 2022, when it comprises 90 boxes. In 1991, Binns was the general editor of Community and the Arts: History, Theory, Practice, a collection of essays which served as a "theoretical text for community practitioners in the arts". Recognition and awards According to the Australia Council,