"[1] As part of his research Brack attended the 1967 World Ballroom Dancing Championships held at Festival Hall in Melbourne.

"[1] The painting, with its blaze of neon pinks, stinging reds and sharp thrusts of black, is full of sexual symbolism set within a very formalised choreographed ritual.

While Brack thought this exhibition was his best work – better even than his 1955 paintings such as Collins St., 5 pm – sales were slow and critical reaction was mixed.

You see, the problem was to make it operate on different levels of meaning, but to make it look perhaps deceptively simpleThe assistant curator of Australian painting and sculpture at the National Gallery of Australia, Lara Nicholls claims Brack uses dance as a metaphor for life and this work shows "false intimacy and false joy".

[2] Here is this scenario which is ostensibly quite romantic, a man and a woman dancing to music, but it is a competition where you must maintain this veneer of fun and joy, but it is quite anxiety inducing because they are in fact performing to a set of rules and everything is so scrutinised by the judge, who you see looming in the right hand cornerThe work was purchased by the National Gallery of Australia in 1981 and remains part of their collection.