Like visitors to the cage, these real-life (unidentifiable) prisoners are documented discovering qualities in the instruments they explore – making sounds that happen to fit into the genres of punk, improv or free noise.

It is an inspired piece of curating by Stephen Cleland where the assembled artworks are deftly positioned in a convincingly cohesive sequence, and where there is an abundance of humour and aural and visual delight.

Rather than trying to make music Shepherd is attempting to paint a sort of conceptual portrait – often through quoted texts, like whole poems from people like Baxter (Lilburn loved poetry), or snippets of snide family comments - taken from the Lilburn biography by Philip Norman.

Yet for all that, this flawed work is still worth seeing. For this artist, Fractus 2009 is unusual because of the range of shape sizes within its unravelling concertina strip, and the way the dark negative shapes on its upper and lower edges interact with similarly angular ones in the centre.

Yet what we find here is still classic Arps. The space is occupied with what appears to be abandoned detritus. There is a pervading sense of delirium, all sorts of peculiar things thrown around, most being fake ready-mades that look like rubbish.

It seems to mean let your imagination leap across the void of common sense to grasp the significance of this wondrous event. Like the kneeling man in the wood engraving, ignores the world of logic.