These sentiments have informed his purpose as a creator of public art installations, and can be seen through his poignant interventions into sites around Sydney, which he reveals have deeper histories than the colonial ones present in the national popular imagination.
In order to realise these projects, Jones’ work is often grounded in research and collaboration with other artists and remote communities to develop art that acknowledges local knowledge systems and specific concerns.
Works that are site-specific suit Jones' practice as he is able to alter public space, creating interventions into Western narratives of the land, and challenging cultural discourse at large.
[citation needed] Barrangal Dyara (Skin and Bones)[8] is a prime example of the way Jones has used public art installation projects to expose an element of Australian history which has been suppressed by cultural amnesia.
The motif of the shield acts as a visual metaphor for the cultural loss that occurred, and also demonstrates that Jones, through his art, interprets the site's history through an Aboriginal lens.
To the viewer, these works can appear as tasteful Western interpretations of minimalist compositions, however, for Jones the cross-hatching and chevron motifs are also direct references to Aboriginal concerns of country and community.
The minimalist, structured light tubes appear contemporary, while the motif of the lines speaks to his Aboriginal heritage: connections with the land that date back thousands of years.
[12] An exhibition of colonial artworks alongside the tools and objects of Aboriginal people, accompanied by carefully researched text and commentary by Jones, writer and researcher Bruce Pascoe and historian Bill Gammage, was the subject of an exhibition entitled Bunha-bunhanga: Aboriginal agriculture in the south-east, mounted in the Art Gallery of South Australia's Elder Wing and the Museum of Economic Botany, as part of Tarnanthi 2019.