Abstract
Following the logic of Bourdieu's notion of ‘field’, acrylic art production in the Western Desert of Australia is positioned as a sub‐field in the field of Western art production. The significance of the cultural identity of the producer subordinates Western Desert acrylic art within the field and the shift in the criteria of legitimation constitutes it as a sub‐field. The capital at stake in the sub‐field of Western Desert acrylic art is differentiated and contingent upon legitimation of authenticity as defined by the Western field of art production. This capital is constituted through the positioning of Western Desert acrylics within the field of art production and is a manifestation of the struggle to maintain domination within the field.
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