n now, Dagmar Vaikalafi Dyck and Sopolemalama Filipe Tohi’s exhibition at Te Whare Toi o Heretaunga Hastings Art Gallery is a chance to see two stars of Tongan contemporary art aligning. With previous iterations presented in Nukualofa and Tāmaki Makaurau/Auckland, it surveys the work of both artists from the 1990s onwards. Part of a bigger research project exploring the legacies of customary Tongan art practices — textiles, weaving, carving and lashing — it firmly locates artmaking within processes of making home and community, and
