The intriguing title of this exhibition is, according to its curator Eleanor Scicchitano, a reference to the Unsolicited Proposals Unit, a body within the South Australian Government that assesses unrequested proposals (in any field?) for their progression (or not) to fruition. For her, the viewers will make the assessment of the "works brought together ... to present new ways of seeing, proposals submitted to the audience for their assessment". The curator's thematic underlay as expressed is simplistic and certainly not new. Marcel Duchamp's dictum that it is the viewer who completes a painting is blaringly evident and relevant here.

In the Front Space, Bernadette Klavin's Failure Pattern is a strong starting point. It comprises nine cast concrete forms, each 60x60cm. The forms are placed in a straight line along the gallery floor, variously individualised by indentations or raised elements on the otherwise minimal surfaces. In a quietly nuanced and subtle way, each form and the forms in combination speak of both the built and the natural environment. The artist's Minimalist aesthetic and its concomitant conceptual basis mark this as a powerfully seductive work.

Tjukula Tjuta by Margaret Richards is a "representation" of the artist's country in the far north-west of South Australia. Its scale (241x198cm) and bright palette give it a particular presence in the space but its connection with other works is opaque and consequently difficult to determine.

Raquel Ormella's Problematic Fragments #2 (Deakin) cleverly elides the aesthetic with the political to create a commanding image using a deconstructed Australian flag as both message and carrier of message. The "flag" is covered with words from Alfred Deakin's private journal that underscore his thoughts about the state of his world, thoughts the contemporary relevance of which is scarily evident.

Jacqueline Bradley has four pieces in the Front Space, three of which use eggs. The egg is replete with symbolic associations which the artist fully understands and cleverly evokes and expresses. The artist uses fruits (apricots and peaches) in two works in which the need for ongoing care of these as sources of nourishment is expressed through their being placed in a series of linen pockets (apricots) or in a linen-lined container (peaches). Bradley's work is always interesting and interrogative in its presentation and demand for intimate viewer engagement.

Saskia Haalebos's Insult Generator (Ya farkin'..) in the Middle Space is an installation consisting of three laptops with a continuous random selection of combinations of words that can be read as puerile insults or more damaging critiques of the destructive power of language on the individual.

In the Back Space, James Tylor's From an untouched landscape is an impressive compilation of images and objects. On the long wall, 20 black-and-white images of the Australian rural landscape are dispersed, each "edited" with the inclusion of a cut-out area covered with black velvet fabric. These areas within each of the landscapes "conceal" Indigenous activity on the land that has been effectively wiped out since European occupation. The use of black is moot and beautifully underscored by the inclusion of a black cross, a rifle, pistol, farming implements and Indigenous weapons and tools, randomly placed among the photographs. Tylor's references to 19th-century photography express dispossession and displacement of Indigenous culture in an evocative and subtle pictorial rhetoric.

Viewers must read the artist's annotations to each of the diagrammatic drawings in Roy Ananda's The Annotated series to understand the pictorial (fictive) narrative that constitutes this demanding and complex suite. The suite's layered conceptual political impulse is arguably of more import than its aesthetic embrace.

The Unsolicited Proposals Unit is an exhibition in which individual works offer eloquent and sophisticated aesthetic and conceptual statements. It is, however, very difficult to find connections among the seven represented artists that speak of anything more than each's individual artistic persona and identity. That said, the selected works in combination as presented at the CCAS, offer an embracing exhibition experience.