Among the first casualties of my three-month confinement in a psychiatric clinic at the beginning of this year were half a dozen solo exhibitions in Japan, S.E. Asia, the USA and Australia, scheduled for later this year. Only two involved traditional galleries. The rest were to be mounted in unconventional, warehouse-like spaces that had taken several months to locate, then several months more to negotiate short-term leases. My assistants and I had spent a year on the intimidating logistics: from packing and shipping a large number of works to different destinations and to mailing of press and promotional materials and planning opening night parties. The prolonged recovery from my breakdown meant that unique opportunities were lost, along with thousands of my hard-earned dollars.Now I have to start again. This time, I'm hampered by having less time to look for new venues – I have long-delayed commissioned work to complete over the next six months – and a lot less money. Most galleries plan their exhibition schedules a year or more in advance so I'm unlikely to get dates in Melbourne or Tokyo before the latter half of next year. I've been invited to do 'something' in collaboration with Plateform, in Paris, before the end of this year, as well as show works on paper at a new gallery in rural Victoria. But it will probably be next year – three years after my last solo exhibition, at MARS Gallery in Melbourne – before I'm able to produce a series of events featuring new paintings and works in other media anywhere else. Various friends are helping me to identify and connect with new spaces – I've described my approach in a previous entry here – and to negotiate dates and non-standard terms. As I've written before, I envision 'playing' in different places in much the same way as a rock 'n' roll band 'on the road' – which is to say, I'm open to any ideas that enable me to interact 'live' with audiences interested in my art and ideas, regardless of where they are. Above: The famed, psychedelically daubed bus, Further, driven by Jack Kerouac's On The Road muse, Neal Cassady, which transported the novelist Ken Kesey and his commune of Merry Pranksters across the USA in 1964. Photo by Gene Anthony.