Scope here is used to encompass the measurable scale/extent or duration/of the work and the extent and status of the audience.

Exhibitions- It is not possible to offer a definitive numerical quantity in relation to the desired scope of an exhibition. Three post-card sized works are clearly not equivalent to a complex three by two metre painting. In combination, however, scale and number do matter in how we measure scopeof an exhibition and the yard-stick is usually the solo exhibition at a major public or commercial gallery where six large c. 1.5 - 2 metre paintings or photographs; or a dozen poster sized paintings or photographs is a normative measure. Installation equivalents would include a similar number of items. For a group exhibition the prestige of the venue or exhibition will in part determine the acceptable number. One very large work selected in a prestigious prize exhibition, or in a major thematic show in NGA, MCA or NGV would be acceptable as a major output but the same situation would generally not apply to a single work in a university gallery, or regional gallery show. In other words at least two, or preferably more, works are almost always needed to give emphatic clarity to the research direction or theme the artist is following.

Time-based work - Animations would generally need to exceed 50 – 60 seconds and short films around 10 - 15 minutes to be considered as major outputs. A web-based digital work or design would need to demonstrate, through its form or complexity, a significant contribution in production time, equivalent to mounting a small exhibition, for it to be considered as a major output.

Catalogue essays and related writing – To be considered as a major contribution, a catalogue essay must be original, with new insights and would generally exceed 1800 words and demonstrate a scholarly approach, with endnotes for example. Agent or dealer commissioned catalogue essays that accompany solo-exhibitions in commercial galleries would generally lack any critical obligation and would be considered as a professional practice contribution.

Large-scale audience numbers are usually associated with the major state and national venues, with attendance figures in excess of 100,000 not uncommon at Biennial and related major exhibitions or events and indeed such reach is part of the prestige of these venues. Most regional galleries keep accurate attendance figures for all exhibitions and this is useful to at least see the impact or reach of the exhibited work. Ultimately, the scale of the audience is not useful as a singular measure of the quality of an exhibition, film or Web-based digital work and this is especially so on platforms such as YouTube where the twelve million views of the video of Fenton the dog do not indicate much more than the hilarity of the video capture of a chance incident.