Exhibitions from the remote East Kimberley region featuring Gija artists have become quite a frequent occurrence in the short life of this gallery. Whereas earlier there was a focus on a few of the senior artists, on this occasion we are presented with no fewer than 13 artists.

They are Rusty Peters, the late Beerbee Mungnari, Phyllis Thomas, Betty Carrington, Sade Carrington, Peggy Patrick, Kathy Ramsay, Gordon Barney, Mabel Juli, Marlene Juli, Nancy Nodea, Shirley Purdie and David Cox. The quality is uneven and, with regret, one has to note that there are no truly amazing paintings on display and there are many that echo the heritage of such great masters as Rover Thomas and Queenie McKenzie.

The paintings on show are generally quite small, competent rather than accomplished, and continue and improvise on the developments by the founders of East Kimberley art. The technique is generally natural ochres and pigments on canvas and, as we have come to admire, there is a lovely grittiness on the surfaces, the linear articulation is simple and graceful, and the white dotting is effective and contained.

Possibly the strongest part of the exhibition consists of some quite stark, almost monochromatic paintings, including Sade Carrington's Ngarrgooroon Country (2016), a striking, rhythmic design, where the voids are as powerful as the landscape elements. At 60, Sade Carrington is one of the youngest artists in the exhibition and as with so many of the other participants, she is the daughter of two artists, Betty Carrington and Beerbee Mungnari, who are also present in this exhibition, and is married to the artist Churchill Cann. While I would never question her ability and heritage, this is certainly not the best of her work.

Her father's painting at this exhibition, Beerbee Mungnari's Blackfella Creek (2009) is a simplified and well-defined composition and is immediately recognizable as his work. Again, there are many finer examples of the work of this well-known Warmun artist.

Marlene Juli is not an artist whose work I know well and one could quite easily confuse it with the paintings by her mother Mabel Juli, who I gather taught her to paint. Gurlabal Ngarrangkarni (2016) is the most accomplished of her offerings at this exhibition. The aerial mapping is effective and there are lovely passages where the white, red and yellow ochres meet and intersect.

It is a pleasing exhibition, rather than a stunning one, and although the paintings are competent and well-executed, something of the earlier excitement of Warmun art is lacking.