[8] Major New Zealand exhibitions include In Flyte, a survey exhibition at Pataka Art + Museum, Porirua (2013), Home AKL at Auckland City Art Gallery (2012), Oceania: Imagining the Pacific at City Gallery Wellington (2011), and Bottled Ocean curated by Jim Viviaeare, which toured New Zealand in 1994-1995.
[7] The exhibition was accompanied by a publication titled 1 Noble Savage, 2 Dusky Maidens with reproductions of the three artists' work and essays by Mark Kirby, Lisa Taouma and Nicholas Thomas.The publication's catalogue featured a photograph of the three artists in a faux-ethnographic style, dressed in traditional manner and mimicking the conventions of photographs taken in Samoa in the 1890s for Western consumption, as a comment on stereotypical presentations of Pacific peoples.
In 2002 the collective researched ancient rock platforms called tia seu lupe (pigeon snaring mounds) in Samoa, resulting in an exhibition titled Vahine.
[16][17][18][19] Being part Samoan and Pākehā[20] Niki Hastings-McFall has incorporated cultural elements from both sides of her ethnicities through the use of Pacific forms in collaboration with urban/non-Pacific materials.
The purpose of Sailors Delight can be a form of reclamation for the Pacific region in reference to regaining their identity and the cultural significance of the use of this material - the lei again.
The lei being a synthetic flower in this artwork, can represent the plastic or inauthentic elements as a symbol of Pacific culture and consequence of colonization in the region.
As well as the orange/pink/white lights representing the attraction one has to the flowers, coincides with the Christian religion argument that the wearing of the lei was used only to seduce men, such as Western colonizers and sailors, and not of cultural significance.
Sailors Delight reveals the effects of the Pacific regions post-colonial issues around culture and identity through the use of materials both authentic and synthetic like lei and its colors.