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This article explores the involvement of the Australian railways in the forcible removal of Aboriginal children. Focusing on the visions and voices of Aboriginal peoples who were taken away from their families by train, the article considers how railways were used in the attempted assimilation of First Nations peoples into White society. The last train ride, an artwork by South Australian Yankunytjatjara artist and Stolen Generations survivor Kunyi McInerney, serves as a point of departure to study how the settler colonial infrastructure of rail operationalised the Australian government policies of assimilation. I ask how railway infrastructures have affected Aboriginal peoples and how Aboriginal peoples have responded to railway infrastructures. In centring the artworks and narratives of Aboriginal people taken away by train, I extend an invitation to readers to rethink geography through the visual expressions and stories of First Nations peoples. Close attention to the perspectives of affected peoples opens possibilities to view infrastructures in a different light. The visions and voices of Aboriginal families impacted by assimilation policies show that the railways played a pivotal role in the separation of Aboriginal children from families and that railway infrastructures have also been sites of resistance to and subversion of assimilation and child removal. Paying careful attention to First Nations voices and visions, the article informs how the Australian railways have been complicit in assimilation policies and how Aboriginal peoples have used the railways to resist and survive such settler colonial projects. [ABSTRACT FROM AUTHOR]

This article considers the railways as a decolonial option for moving toward mobility justice. It views the photographic artwork Trained Man by Ngalkban Australian artist Darren Siwes through a mobilities lens, considering how the artist plays with time and attends to space, making visible what colonial projects of protection and assimilation have attempted to erase. Attending to the truths and imaginaries that reside and move with Trained Man, it draws on the work of Aboriginal and Black artists, scholars, and activists to trace Australia's past and present colonial history of training Aboriginal people into whiteness. It considers the railways as carrying "two lines of destiny" with potential moving in both colonial and decolonial directions. The article concludes by suggesting that shared spaces such as the railways open possibilities for mobilizing the decolonial project. [ABSTRACT FROM AUTHOR]