This thesis by publication is a combined synthesis of a multipart body of research that investigates disability access and social inclusion in art museums. This research combines the findings from a series of interrelated studies to present a comprehensive view of disability access in art museums. A qualitative, grounded theory research design utilised a variety of data collection strategies to provide rich data. The researcher chose a qualitative research design guided by the theoretical lenses of disability access and social inclusion theories in order to capture expressive individual perspectives from both museum staff members and individuals from the disability community about values, beliefs, and motivations that underlie museum services and programs. The primary research question for this research is: What key measures can art museums take to become more accessible and socially inclusive for people with disabilities? Related to this primary question, the researcher considered the role and value of the types of technological tools and outreach strategies that art museums currently employ to encourage social engagement and improve the quality of the museum experience for people with disabilities. Another aspect of the research enquiry was to discover the perceptions that people with disabilities have about art museums programs and services and their ideas about how these institutions could provide a greater sense of social inclusion to people with disabilities. The results of this research highlight general trends in disability access offerings in art museums and underscores the importance of inclusion and disability advocacy in terms of taking steps towards improving museum outreach and services. An important finding was that the majority of participants with disabilities involved in the research often did not visit public art institutions because they feel excluded, unwelcome, or did not find anything of value. What emerged through an evaluation of the research findings, was an understanding that the process of becoming an accessible and inclusive museum requires a change in attitude, policy, functionality, and programming throughout the museum's administrative, access, and outreach functions. This research provides art museum administrators and staff with strategies and examples of successful inclusive initiatives offered by art museums. Moreover, this research provides a conspectus of resources and a theoretical framework of disability access and social inclusion that may assist art museums with becoming more accessible and socially inclusive for all.

This installation of objects, drawings and audio-visual events reflects Frances' relationship with the 'tribe of Magpies' she sees everyday near her studio. Frances is interested in the combination of 'birds and sky' and in capturing the energy and dynamism in the New England landscape - the bounce of light, the drama of a stormy sky and the movement of living things in space.

One Work is the result of collaboration between artists Frances Alter, Stuart Boggs, Rowen Matthews, and Robyn Jackson who were inspired by the landscape and environment at Digger's Camp in the Yuraygir National Park, between Yamba and Coffs Harbour. The exhibition's centrepiece is a massive multi-panel painting that mixes up work of each artist to create a single artwork responding to the site. Each artist contributed towards creating a visceral impression of the rugged coastal environment and seascape. The work established a new innovative methodology for art practice that challenged notions of single authorship of artworks by artists. Dr Frances Alter conducted the creative practice research throughout the development of the project and this involved recordings of planning meetings, videography of artist's practice on location, and final presentations of research outcomes in a public lecture alongside the One Work exhibition held at the New England Regional Art Museum in Armidale from October to November 2015.

The 2014 art exhibition featured a retrospective view of a decade of this unique art event. The exhibition offered a showcase of works by the winners (and runners up) representing each year that the exhibition has been held (first exhibition held in 2004). The retrospective exhibit included 20 works that were chosen by Dr Frances Alter (artistic director) and Ms Michelle Arens (UNE art curator) from amongst nearly 50 exemplary youth artworks currently placed in the University of New England's Art Collection. To mark the retrospective event the exhibition included a summary of textual information gathered in the course of research into the scope and reach of UNESAP as well as the life trajectories of the talented former winners of the UNESAP art prize who have since graduated from high school. A university funded research project undertaken by Dr Frances Alter in 2013 and 2014 titled, the Social Legacy of UNESAP, investigated the life experiences and careers of former winners and finalists aged 19 to 28 years of age. This research focused on assessing participants continued engagement with the Arts - specifically the visual arts. The findings of the research noted that in their post school years, a far higher percentage of former winners had undertaken tertiary Arts study and work in arts-based careers than is reported in the Australian national census data (2012) for study and career choices amongst 18 to 29 year old Australians.