Cross-reference continues a series of interventionist works that address the public, private and transitional aspects of both the gallery space and other public spaces. The defined architectural boundaries of the gallery site are ruptured through an open door, which not only expose an external environment but also provides alternative access to the internal exhibition. As participants of the Big Day Out music festival appear to examine the gallery, its art and its audience, the gallery public also experience an unexpected view of the music festival and its audience. The work not only inverts the space of the exhibition but the uncertainty created between the artwork/viewer is literally mirrored between the exhibition/external public space. The juxtaposition of two disparate sites and the simulated interaction between the participants of these sites aims to disrupt preconceived expectations of specific cultural and social contexts, and the way in which audiences are conditioned to interact and participate. T