During a 2011 meeting with Harold Mitchell, Stéphane Martin presented a plan to transform part of the roof of the museum into a display of Aboriginal art, continuing on from the previous works of indigenous artists being made part of the fabric of the museum.
Mitchell, who saw the opportunity of gaining increased exposure of Aboriginal art, given the roof can be viewed from the Eiffel Tower, agreed to help.
After approaches to the Australia Council for the Arts, a committee, which included Art Gallery of New South Wales indigenous art curator Hetti Perkins, put forward a recommendation for Nyadbi's work to be chosen to adorn the rooftop of the museum.
Kathy Keele, the CEO of the Australia Council for the Arts, stated that the committee chose Nyadbi as her works struck a chord with the museum, as the building is shaped like a fish and is on the banks of the Seine.

The AU$500,000 commission, which was to be borne by the Council and Mitchell's philanthropic foundation, would see Nyadbi presenting a work entitled Dayiwul Lirlmim (Barramundi scales).
The work tells the dreaming story of three women who trap a barramundi in a trap, but it escapes.
The three women chase the fish across the countryside, and it jumps across a creek and lands on rocks.
Scales from the fish are thereby scattered across the landscape on the current site of the Argyle Diamond Mine – the scales represent the diamonds which are mined in Nyadbi traditional lands.
The painting which was done with ochre and charcoal from Nyadbi's traditional lands, was acquired by Harold Mitchell and loaned to the museum and put on long-term display.

Preparation for the transformation of the artwork from canvas onto rooftop saw the original painting being digitised.
This enabled the creation of 172 stencils which measured 3 metres by 1.5 metres to be created for placement on the roof of the museum.
The black canvas was then painted with white rubber as is used on traffic signs in the French capital.
The digitisation of the painting also allows for easy reproduction when it becomes necessary to replace the roofing tar every fifteen years.

On 2 June 2013, Australian Governor-General Quentin Bryce handed over custodianship of Dayiwul Lirlmim at a ceremony at the Musée du quai Branly.
On the impending unveiling of the rooftop installation, Bryce said "I look forward to millions of visitors to this beautiful city glimpsing an epically scaled and awe-inspiring wonder from the Kimberley on the bank of the Seine."
The installation was inaugurated on 6 June 2013, and saw Nyadbi and other dignitaries take a trip up the Eiffel Tower to view the work.
Upon seeing her work on the rooftop Nyadbi shed tears, explaining that apart from feeling a great sense of excitement and pride it made her feel sorry for her traditional lands and whilst the diamond mine had destroyed the landscape of her country, the dreaming was still alive.
Lee-Ann Buckskin, the chair of the Aboriginal and Torres Strait Islander Arts Board, shared the tears with Nyadbi and said that the Dayiwul Lirlmim installation would bring to the attention to the people who see it of what is one of the world's oldest cultures.

Mitchell said the installation of the artwork on the rooftop of the museum would allow Australia to "show off our first peoples to the world," and further stated "(w)e must grab these opportunities where we can to tell the world who and what we are."
Then-Federal Arts Minister, Tony Burke, stated that the installation signified the importance that is placed on the culture of indigenous Australia, and also held it up as an example of using art as a form of soft diplomacy.
During a 2011 meeting with Harold Mitchell, Stéphane Martin presented a plan to transform part of the roof of the museum into a display of Aboriginal art, continuing on from the previous works of indigenous artists being made part of the fabric of the museum. Mitchell, who saw the opportunity of gaining increased exposure of Aboriginal art, given the roof can be viewed from the Eiffel Tower, agreed to help. After approaches to the Australia Council for the Arts, a committee, which included Art Gallery of New South Wales indigenous art curator Hetti Perkins, put forward a recommendation for Nyadbi's work to be chosen to adorn the rooftop of the museum. Kathy Keele, the CEO of the Australia Council for the Arts, stated that the committee chose Nyadbi as her works struck a chord with the museum, as the building is shaped like a fish and is on the banks of the Seine.
The AU$500,000 commission, which was to be borne by the Council and Mitchell's philanthropic foundation, would see Nyadbi presenting a work entitled Dayiwul Lirlmim (Barramundi scales). The work tells the dreaming story of three women who trap a barramundi in a trap, but it escapes. The three women chase the fish across the countryside, and it jumps across a creek and lands on rocks. Scales from the fish are thereby scattered across the landscape on the current site of the Argyle Diamond Mine – the scales represent the diamonds which are mined in Nyadbi traditional lands. The painting which was done with ochre and charcoal from Nyadbi's traditional lands, was acquired by Harold Mitchell and loaned to the museum and put on long-term display.
Preparation for the transformation of the artwork from canvas onto rooftop saw the original painting being digitised. This enabled the creation of 172 stencils which measured 3 metres by 1.5 metres to be created for placement on the roof of the museum. The black canvas was then painted with white rubber as is used on traffic signs in the French capital. The digitisation of the painting also allows for easy reproduction when it becomes necessary to replace the roofing tar every fifteen years.
On 2 June 2013, Australian Governor-General Quentin Bryce handed over custodianship of Dayiwul Lirlmim at a ceremony at the Musée du quai Branly. On the impending unveiling of the rooftop installation, Bryce said "I look forward to millions of visitors to this beautiful city glimpsing an epically scaled and awe-inspiring wonder from the Kimberley on the bank of the Seine." The installation was inaugurated on 6 June 2013, and saw Nyadbi and other dignitaries take a trip up the Eiffel Tower to view the work. Upon seeing her work on the rooftop Nyadbi shed tears, explaining that apart from feeling a great sense of excitement and pride it made her feel sorry for her traditional lands and whilst the diamond mine had destroyed the landscape of her country, the dreaming was still alive. Lee-Ann Buckskin, the chair of the Aboriginal and Torres Strait Islander Arts Board, shared the tears with Nyadbi and said that the Dayiwul Lirlmim installation would bring to the attention to the people who see it of what is one of the world's oldest cultures.
Mitchell said the installation of the artwork on the rooftop of the museum would allow Australia to "show off our first peoples to the world," and further stated "(w)e must grab these opportunities where we can to tell the world who and what we are." Then-Federal Arts Minister, Tony Burke, stated that the installation signified the importance that is placed on the culture of indigenous Australia, and also held it up as an example of using art as a form of soft diplomacy.
Lena Nyadbi