[8] His work, entitled August 19, 2024, comprises another huge family tree drawn in chalk, mapping over 2,400 generations,[2] and covering 60 m (200 ft) of wall space in the Australian pavilion.
[4] There are large gaps in the tree, where oral history was not passed down owing to the effects of colonisation, massacres, epidemics, and natural disasters.
[2] Completing the installation are hundreds of piles of documents arranged on a table in the centre of the room, containing official proceedings of inquests into Indigenous deaths in state care since that have occurred since 1991, the year the Royal Commission into Aboriginal Deaths in Custody report was published,[2][9] as well as 19 documents relating to members of the artist's family who had come into contact with former policies.
He said "it was important to have this large scale [work] to give a sense of time and unbroken continuing culture even though there's these three holes in the tree, which are disruptions to the genealogical lineage".
[10][11] On August 19 2024 it was announced that kith and kin had been jointly acquired by the Australia Government for Queensland Art Gallery and the Tate in the U.K. Because of its size, kith and kin was acquired as a set of artist instructions rather than the physical installation, so it can co-exist at both Tate and Queensland Art Gallery without incurring any additional shipping, conservation, or storage costs.
[5] Curator, artist, and author Djon Mundine has written extensively about Moore, referring to him as a "night parrot", a rarely-sighted bird.