tago and Dunedin were Gary Blackman' visual patch for almost seven decades: a strength for him but not so good for his wider profile. Justin Paton's comprehensive 2003 show at the Dunedin Public Art Gallery deserved to be seen elsewhere, but for various reasons it did not travel, constituting a regrettably missed opportunity for those curious about the development of contemporary photographic practice in this country. This is a decisive factor in Blackman's national
