A thylacine will roam the foothills around Canberra for the first time in more than 2000 years.
Collections from the National Museum of Australia will come alive on Friday night in a ghostly installation on the banks of the Murrumbidgee River.
The sold-out performance will bring projections of the past to Lambrigg, a historical property close to the tiny village of Tharwa on Canberra's outskirts, where pioneering wheat breeder William Farrer undertook his influential wheat trials.
For the past few months, the museum's artist-in-residence Vic McEwan and curator George Main have been rising well before dawn to head down to the river bank.
Using the fog, the flowing water and the silent hills as a canvas, they projected images and objects from the national collections onto the natural landscape.
"I've been interested for a while to see what would happen if we projected fog onto shifting environmental conditions, something we can't control and what would that mean for those images we project," Mr McEwan said.
They found the fog would transform still objects into "surreal and abstract" moving images.
As it rolled in, portraits of agricultural pioneers appeared to watch you, while a stained glass window from the Cootamundra Girls Home would electrify the sky like the Northern Lights.
Along the way they catalogued the projections, the eerie feeling they got when working in those quiet hours giving title to their experimental artwork, 'Haunting'.
Mr Main said the most interesting aspect of these projections was returning the images and objects back to the region that forged them.
From Farrer's wheat samples to the stained glass window, each projection was a legacy of the river region, a story that is still being written.
"The places where we're projecting in are really active in bringing those images alive in the same way these places gave life to these people and shaped their lives," Mr Main said.
Each projection is byzantine – both celebrating the pioneering spirit and lamenting the loss of land and native species.
"When we're projecting these images of the railway, we're looking at how they're celebrated for allowing expansion but also looking at what it meant for other people," Mr McEwan said.
"One image in particular [we're projecting] was from an Aboriginal elder who was taken as a child to the Cootamundra Girls Home on the railways. To her the railways were built just to take Aboriginal kids."
Mr Main said: "We're looking at some quite traumatic stories, we're exploring some quite challenging ideas, ideas that will hopefully be quite useful in terms of people making sense of challenges we face in the present that arise out of our complicated history."