[5] Lena Nyadbi, of the Gija people, by her own estimate, was born circa 1936 at Warnmarnjulugun lagoon near Greenvale Station in the East Kimberley region of Western Australia.

[6] In 1968 when the Conciliation and Arbitration Commission ruled that indigenous cattle station workers would be paid the same as their non-indigenous counterparts,[8] Nyadbi along with many Gija people were forced to relocate to the Warmun Community.

[6] Nyadbi isn't the only artist that utilizes ochre as it's been a fundamental material of aboriginal Australian art for thousands of years to paint dreamtime stories.

[9] Nyadbi creates her own paint and her style is known for its "rich, spare aesthetic",[10] as well as her "preference for strongly contrasting colours" and "repeated 'stanzas' of symbols" that pair with her ancestral narratives.

[12] In 2002, director of the Musée du quai Branly, Stéphane Martin, and the museums architect Jean Nouvel, enlisted the help of then-French President Jacques Chirac to have the Australian government and the Australia Council for the Arts find indigenous Australian artists for a project, which would see their art being displayed on the then-unopened museum in ways reminiscent of their traditional ways–on walls, windows and ceilings.

Early experiments for the templates which would eventually be placed on the museum exterior wall were rejected by Nyadbi because they lacked contrast and she believed it made her artwork look like sausages.

The bottom portion of Hideout depicts the cave where her family hid, as well as a nearby site belonging to an ancestral bat, and a gathering place where Gija people would grind seeds and prepare food.

[17] Kathy Keele, the CEO of the Australia Council for the Arts, stated that the committee chose Nyadbi as her works struck a chord with the museum, as the building is shaped like a fish and is on the banks of the Seine.

[16] The AU$500,000 commission, which was to be borne by the Council and Mitchell's philanthropic foundation, would see Nyadbi presenting a work entitled Dayiwul Lirlmim (Barramundi scales).

On the impending unveiling of the rooftop installation, Bryce said "I look forward to millions of visitors to this beautiful city glimpsing an epically scaled and awe-inspiring wonder from the Kimberley on the bank of the Seine.

[19] Lee-Ann Buckskin, the chair of the Aboriginal and Torres Strait Islander Arts Board, shared the tears with Nyadbi and said that the Dayiwul Lirlmim installation would bring to the attention to the people who see it of what is one of the world's oldest cultures.