Six impossible things before breakfast is the final exhibition in The Alice Sequence. The works that make up the sequence of exhibitions, sculptures, drawings and paintings, do not follow a logical path nor present a rational argument. Working with a visual language that does not necessarily mimic symbolic language creates a different kind of text – a dialogue that complicates more than explicates. Thus, the animals I depict in two and three-dimensional forms in The Alice Sequence are neither illustrations nor explanations of Carroll’s texts. Yet, like the dream worlds in which Alice finds herself, there is a kind of nonsensical logic to them. It is a type of madness, of a kind that the Cheshire Cat alludes to when he proclaims from his lofty perch, “we’re all mad here. I’m mad. You’re mad” (Carroll 1982:64). This is not insanity of the clinical order, but of the knowing kind that alludes to the unhinging of words and objects from their usual contexts. As Alice found in her dream world the inversion of the normal order allows access to new territories and permits new insights and new knowledges. Believing in speaking animals, as Alice does in Wonderland, opens the possibility of believing the impossible – or believing the impossible allows the possibility of speaking animals! In the context of these exhibitions, allowing for the “impossible”, (the possibility of the impossible), arguably opens the doors to the recognition of minds other than our own.