Amelia Groom is an art writer whose work has often been concerned with time; its undercurrents, its blockages and trickling detours, and the possibilities for its re-routing. Groom completed a PhD in Art History at the University of Sydney in 2015, and has since been based in Amsterdam and Berlin. Groom’s book about Beverly Buchanan’s swampy, ruinous environmental sculpture “Marsh Ruins” was published in the Afterall One Work series. Other recent publications include an essay on Scheherazade and “oblique parrhesia”; a series of texts on the politics and poetics of silence; and the essay “There’s No Beginning and There Is No End: Mariah Carey and the Refusal of Time,” which was published by e-flux journal in 2023. For the 24th Biennale of Sydney: Ten Thousand Suns publication, Groom has contributed an essay on oceanic forces and longings in the art and antifascist activism of Claude Cahun and Marcel Moore. This text draws from Groom’s ongoing research for a forthcoming monograph on “indirect action,” which reads Cahun and Moore’s work through the lenses of queer and trans ecologies.