[8] Choosing to show typical examples of their Australian contemporary art practice, Drummond took long contact proofs, titled Voyeur and excepted from monochrome Super 8 footage which had been made between 1960–65, which could be unrolled and pinned to the gallery wall either horizontally or vertically, allowing viewers' own interpretation of narrative, and reported that some of the Vietnamese artists were surprised she chose not to frame her photographs.
The exhibition was shown in Australia as Vietnam at the Waverley City Gallery from 25 February to 28 March 1993,[9] in which Zara Stanhope points to "Drummond's creative acts of framing and filming," and "unsettling juxtaposition of unfamiliar, geographically distant images" which "disrupt the convention of the invisible journalistic photographer [and] Western modes of narrative and brings about reconsideration of viewing responsibilities."
A single framed passport photo facing a group of like images at opposite ends of a long narrow space that for Stanhope signify "the individual made poweriess before structures of the mass or of nation.
Beside found photographs it included three video screens; one showing Powell's 1960 movie; another voyeuristically tracking a woman as she weaves through museum displays; and a third with a live feed of the exhibition space in which the viewer can see themselves recorded.
Beatrice Faust slighted her contributions to the National Gallery of Victoria's 1988 Excursions into the Postmodern: Five Melbourne Photographers; New Acquisitions, writing that she had failed to make "a coherent body of work," and that beside John Gollings' studies "powerful melding of architectural, pornographic and optical images," hers were "sketchy and trivial.
In that at least it is a good example of the current, Post-Modern Academy style," its catalogue as "impenetrable" and the accompanying video as "interminable,"[18] and dismissed a reshowing of the images in Reflex at the Centre for Contemporary Photography, curated by Koop, as "blurry night shots of the city, such as one expects (but does not encourage) in undergraduate students.
"[19] Rebecca Lancashire more positive in reviewing Location, at Australian Centre for Contemporary Art in 1992, notes "Rozalind Drummond's black and white Melbourne scenes, deliberately out of focus: images of flux and uncertainty,"[20] and Zara Stanhope addressing Reflex as an exhibition of ironically "bad" photography, in which Drummond's work accompanied that of Susan Fereday, Graeme Hare, Les Walking and David Stephenson, described hers as "dynamic images;" "Abstracting the real, the works in Reflex restage the classical struggle between the expressive and the descriptive, the subjectivity of the gaze and the indexical qualities of photographic reproduction.
The electric neon lighls illuminating the form of Western and Eastern cities appear out of the night in Rozalind Drummond's...They provide the viewer with only a transitory glimpse, insufficient to discern the figure in the darkness, or to culturally position oneself.
"[25] However, reviewing more conventional imagery in Perfect for Every Occasion at Heide Museum of Modern Art in 2007, critic Robert Nelson dismissed as "feeble happy snaps," her portraits of youths; "Even the scene where one girl touches another, which is given the dramatic title Now Everyone Knows, seems unmomentous.
"[26] Penny Webb writing on Durmmond's 2007 collaborative show with Stuart Bailey, Carpetweed, at Victoria Park Gallery, Abbotsford, discerns a more effective "exchange ... established between these two bodies of work - six photographs pinned around the space; six constructions on the floor: a meeting of minds, you might say.