Incorporating kiln formed glass, hand crafted jarrah armatures, text and audio components, Minor truths took its starting point from Poems of Truth (1957), a collection of poems and prose by Michael Dillon, a man who at various stages of life was a physician, naval surgeon, author, and novice Buddhist monk. From a considered reading of Dillon’s life and work, the exhibition was suggestive of the vulnerability of knowledge – that language, power, architectures, bodies, and ideas of truth are impermanent, malleable, cracked, and unable to contain themselves. Messih’s work, like Dillon’s, was in dialogue with ideas of mastery and its limit, not in terms of control but as an expansive pursuit of knowledge attainment.