enning a short, sharp profile on the ‘pre-eminent’ gallerist Roslyn Oxley, based on the newly published art tome , written and edited by Felicity Fenner, is like decanting a deluge into a cup. Too many thrills lost in the spill not to say go bury your head in the multi-voiced history and often hilarious recall of how a small Sydney establishment, launched by novice dealers, grew contemporary Australian art into an asset class.
