In 1967, Wight's work came to the attention of Brian Finemore and John Stringer, co-curators of the seminal exhibition The Field at the National Gallery of Victoria in 1968.
[3] Wight is one of only three women artists to have work included in The Field, the others being Janet Dawson and Wendy Paramor.
[8] Whilst she had produced prints in conjunction with her abstract paintings in her earlier works, printmaking soon became her primary medium, and through her production of postcards and books she sought to challenge ideas of commodification and elitism.
The image was composed by painter Christopher Pyett, adapted on computer by Wight and woven by Merrill Dumbrell.
[9] In 2014 Normana Wight was interviewed in a digital story and oral history for the State Library of Queensland's James C Sourris AM Collection.