Tristen Harwood

Richard Bell’s prescient work and unapologetic polemics have paved the way for an entire generation of contemporary Indigenous artists.

Illuminating, angry and funny, Sydney Theatre Company’s remount of the classic play The 7 Stages of Grieving powerfully shows how Indigenous survival is a radical act.

Through a Lens of Visitation – Dale Harding’s collaboration with his mother, textile artist Kate Harding – creates a vast, tactile exhibition that challenges individual authorship.

In its third showing, The National – which exhibits new Australian art across three major Sydney galleries – highlights uncertainties about our national identity.

“I felt elation and deflation in equal parts when a friend messaged me that the Dark Mofo festival in Tasmania had cancelled the controversial performance Union Flag by artist Santiago Sierra. Like so many other First Nations peoples exposed to …”

This year’s NGV Triennial is a site of topological turmoil that presents artworks to the masses but also empties them of substance.

TIWI, a major exhibition of Tiwi art at NGV Australia, showcases a luminous body of work – but it still doesn’t quite grapple with the colonial history of curation.

The first large-scale exhibition of Gordon Bennett’s work at Brisbane’s Gallery of Modern Art reveals a terrible beauty.

Fiona Foley’s groundbreaking new book Biting the Clouds traces a hidden colonial history of addiction and slavery. “None of the information in this book was ever taught to me in a classroom setting … We have no critical race studies in the curriculum in this country.”

A retrospective of Nyapanyapa Yunupiŋu’s work at Darwin’s Museum and Art Gallery of the Northern Territory demonstrates the range of her luminous art.