Other coins would appeal to different tastes, and there may be some which speak more directly to the hand, rather than the eye. The depth of talent drawn on in this exhibition suggests further, even more ambitious developments. The first temptation is to imagine how this strike might be promoted in Melbourne's cultural calendar. Such a festival activity, call it Numismatica for argument's sake, might employ other artists whose work complements coins. Besides the ubiquitous city busker whose hat provides a temporary home for loose change, it would be a suitable opportunity for celebrating the city's fountains, otherwise vulnerable to development.
Coins imply an incidental intimacy between strangers of city.
Like the air we share, coins bear witness to fate that is shared by people occupying the same space. To celebrate this communal link would be an useful antidote to the mock Vesuvius planned for the 'circus of greed' across the river. The second expansion concerns the design of coins. This old-fashioned hierarchical arrangement contains a rich vein of creative opportunities, one limited by the mandatory use of the MJC symbol in the exhibition. The royal obverse will become an issue particularly if by chance Australia the Queen of England vacates the other side of the coin.