Almost didn't see this one. Fifteen minutes past the hour the gallery was due to open, no lights on and no one inside. After peering through the window and about to leave, I tried the door and found it unlocked! Once inside I heard voices and called out if there were any lights. I was rudely informed the gallery was not yet open but seeing me, and another intrepid visitor, watches were checked, shoulders shrugged and we were told 'it wasn't their responsibility'. Someone else arrived and was kind enough to find a light switch. I've no idea if the first two were participants in the exhibition or not but, as the title suggests, any art student preparing to step into the professional art world should learn to act like 'professionals'.

All that aside, I found the show well worth visiting. I enjoyed walking through Emma Dusci's excellent Invasion, a 'hanging garden' of delicate, stitched, dyed and printed fabric. The work informs us on how the Australian landscape is under threat by a variety of introduced flora. There is a gentle rhythm to the presentation created by the swaying of the fabric panels, the undulation of the stitches, the soft hues and the fine line drawings of plants printed on the fabric.

More fine lines, this time etched on metal, also offers intriguing viewing. Unseen by Katherine Cochrane presents the metal plates, rather then the prints pulled from them, which enhances the experience of seeing line as an artfrom, rather then reacting to the object it draws. These etchings were inspired by scientific specimens and positioned so we look down on them as an artist or scientist would while working. Highly intriguing.

Even more intriguing lines are found in Megan Vanderheyden's delightful doodles. These small works of black ink on white transparency over foam core and wooden blocks, take us on a journey within our own imagination. As with all doodles, there appears to be something else guiding the hand that makes the marks. Whether the artist is trying to define something ethereal or not, makes no difference as the viewer will be captivated by finding what they will in these well presented works.

Another beautifully presented, and constructed, exhibit is Sumi Shirai's Cranes, which references a legend that says if you make 1000 paper cranes your wish will come true. I assume there are a thousand small, multi-coloured origami cranes sewn to the black netting hung from the ceiling, and scattered around it on the floor. I'm certain someone's wish came to fruition, twice, as the well directed light on the exhibit allows the cascade to be repeated as a delicate shadow on the wall. Elegant and beautiful!

Greg Warman's multi-fabric sculpture Falling Out is well presented and aptly subtitled a starting point as it left me wanting to see more of his work. The same can be said of Victoria Bennett's strip of printed fabric squares. Although quite well done it's an insufficient example of her ability. Work by these two textile artists reveal fine skills however neither really engages the mind or emotions.

I do appreciate the concept and cut out paper columns of Karen Chandler's installation Forest Sanctuary Transplanted however the haphazard placement of 'happy snaps' and scraps of paper make it visually confusing. And although Brielle Frampton and Karleha Favero show a flare for photography, their subjects of 'domestic goddess' and 'woman oppressed' have been done before, often and better. To their credit, both write a good essay. Ayesha Lapinski too writes a fine catalogue essay however even the best hyperbole won't turn ice and egg cartons into art. And perhaps Andrew Lane should switch to sculpture as his attempt at painting is trying.