Sorawit Songsataya, The Interior (detail), 2019, fibreglass, polyester resin, acrylic lacquer, Oāmaru stone. Commissioned by Auckland Art Gallery Toi o Tāmaki and supported by the Chartwell Trust and the Contemporary Benefactors of Auckland Art Gallery, 2019. Private collection, Auckland. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Sorawit Songsataya, The Interior (detail), 2019, fibreglass, polyester resin, acrylic lacquer, Oāmaru stone. Commissioned by Auckland Art Gallery Toi o Tāmaki and supported by the Chartwell Trust and the Contemporary Benefactors of Auckland Art Gallery, 2019. Private collection, Auckland. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Sorawit Songsataya, The Interior (detail), 2019, fibreglass, polyester resin, acrylic lacquer, Oāmaru stone. Commissioned by Auckland Art Gallery Toi o Tāmaki and supported by the Chartwell Trust and the Contemporary Benefactors of Auckland Art Gallery, 2019. Private collection, Auckland. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Sorawit Songsataya, The Interior (detail), 2019, fibreglass, polyester resin, acrylic lacquer, Oāmaru stone. Commissioned by Auckland Art Gallery Toi o Tāmaki and supported by the Chartwell Trust and the Contemporary Benefactors of Auckland Art Gallery, 2019. Private collection, Auckland. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Sorawit Songsataya, The Interior (detail), 2019, fibreglass, polyester resin, acrylic lacquer, Oāmaru stone. Commissioned by Auckland Art Gallery Toi o Tāmaki and supported by the Chartwell Trust and the Contemporary Benefactors of Auckland Art Gallery, 2019. Private collection, Auckland. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Ngahuia Harrison, Pakora (to be low (of tide)), 2012, digital print. Victoria University of Wellington Art Collection, purchased 2018. Installation view of Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Len Lye, Universe, 1976/1998, steel on wood and Formica base (containing electromagnets). Courtesy of the Len Lye Foundation Collection, Govett-Brewster Art Gallery/Len Lye Centre. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Dane Mitchell, List of Lists, 2019/2020, 12-inch lathe-cut record, edition of 20. Victoria University of Wellington Art Collection, commissioned from the artist as the second Adam Art Gallery Artist’s Edition. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Shona Rapira-Davies, Ka pinea koe e ahau. Ki te pine o te aroha. Ki te pine e kore nei. E waikura e. A lament, 2011, oil on board. Victoria University of Wellington Art Collection, purchased 2011. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Janine Randerson with Tru Paraha, Waiho, retreat, 2016, two channel digital video with audio, looped, 3 minutes 19 seconds, with composition by Jason Johnston. Made with support from Ngāi Tahu Glacier Guides and Susan Wallace, Te Rūnanga o Makaawhio. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Janine Randerson with Tru Paraha, Waiho, retreat (still), 2016, two channel digital video with audio, looped, 3 minutes 19 seconds, with composition by Jason Johnston. Made with support from Ngāi Tahu Glacier Guides and Susan Wallace, Te Rūnanga o Makaawhio. Courtesy of the artist.

Alice Bonifant, Sometime later, 2012, bronze, hard wood, paper. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Alice Bonifant, Sometime later (detail), 2012, bronze, hard wood, paper. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Alice Bonifant, Sometime later (detail), 2012, bronze, hard wood, paper. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Raewyn Martyn, For Loan, 2012, wood, canvas, paint, Victoria University of Wellington Art Collection, accessioned 2016. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Rachel Shearer, Te Oro o Te Ao, 2018, eight-channel sound installation, Courtesy the artist. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Rachel Shearer, Te Oro o Te Ao, 2018, eight-channel sound installation, Courtesy the artist. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Paul Johns, Been Here Long?, 2020, rocks, neon, transformers, wood, acrylic, and stainless steel. Courtesy Paul Johns. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Paul Johns, Been Here Long? (detail), 2020, rocks, neon, transformers, wood, acrylic, and stainless steel. Courtesy Paul Johns. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Paul Johns, Been Here Long? (detail), 2020, rocks, neon, transformers, wood, acrylic, and stainless steel. Courtesy Paul Johns. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Peter Peryer, After Rembrandt, 1995, silver gelatin print. Victoria University of Wellington Art Collection, purchased 1997. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Sriwhana Spong, Muttnik, 2005, edition of three, super 8 transferred to DVD, 4:5 ratio, 3 minutes 38 seconds, sound, colour. Victoria University of Wellington Art Collection, purchased 2011. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Sriwhana Spong, Muttnik (still), 2005, edition of three, super 8 transferred to DVD, 4:5 ratio, 3 minutes 38 seconds, sound, colour. Victoria University of Wellington Art Collection, purchased 2011.

Phil Dadson, Echo-Logo, 2003-2004, from the Polar Projects series, single channel DVD, 7 minutes, looped. Victoria University of Wellington Art Collection, purchased 2011. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Phil Dadson, Echo-Logo (still), 2003-2004, from the Polar Projects series, single channel DVD, 7 minutes, looped. Victoria University of Wellington Art Collection, purchased 2011.

Raewyn Martyn, Greywacke love poems returns: returns (detail),2019/2021, biodegradable paintings made from mineral and plant-based pigments, and biopolymers, courtesy the artist. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Raewyn Martyn, Greywacke love poems returns: returns (detail), 2019/2021, biodegradable paintings made from mineral and plant-based pigments, and biopolymers, courtesy the artist. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Raewyn Martyn, Greywacke love poems returns: returns (detail),2019/2021, biodegradable paintings made from mineral and plant-based pigments, and biopolymers, courtesy the artist. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Raewyn Martyn, Greywacke love poems returns: returns (detail),2019/2021, biodegradable paintings made from mineral and plant-based pigments, and biopolymers, courtesy the artist. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Anne Noble, William’s Field No. 2 (Under Erebus); William’s Field No. 4 (Under Erebus); William’s Field No. 6 (Under Erebus), 2002. Installation view, Listening Stones Jumping Rocks, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker