Lisa Radford

The documentary Brazen Hussies vividly excavates the crucial, complex history of the Australian women’s liberation movement.

Open only by appointment due to Covid-19 restrictions, two exhibitions at Melbourne gallery Neon Parc provide a chance to reflect on the unseen labour of artists and arts workers.

Using dance, Shelley Lasica’s ongoing collaborative project The Design Plot maps the space between the performers and the audience, examining the macro and the micro as part of a whole.

At NGV International, an architectural collaboration between Edition Office and Yhonnie Scarce invites visitors to reflect on the erasures of colonisation.

Combining sculpture, installation and augmented reality, Simon Denny: Mine is a thought-provoking exhibition that challenges our relationship to technology and the environment.

In The Theatre Is Lying, curated by Max Delany and Annika Kristensen for ACCA, artists interrogate the meaning of theatre and performance.

Open Window, presented by the collective of Gavin Bell, Jarrah de Kuijer and Simon McGlinn, is a puzzle of objects as empty vessels within spaces divided by open wall frames.

MoMA at NGV: 130 Years of Modern and Contemporary Art provides an engaging and broad survey of how we have sought to understand the negotiation between technology, nature and our humanity.

A 30-year retrospective of Ronnie van Hout’s work includes a dazzling variety of distorted sculptural and filmic self-portraiture, with the effect of interrogating what is real.

A year-long curatorial project, involving new work from 52 artists, hosted principally on an Instagram account, raises questions of form and function.

In the delineated zones of David Capra’s exhibition-cum-installation Sheer Fantasy, the visitor is led to contemplate intersections of time and space.

A posthumous retrospective of Mutlu Çerkez’s work, structured by an idiosyncratic dating system of the artist’s devising, challenges concepts of when an artwork begins and ends.