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NSG Edition. Spring 2026

Holly Anderson / Sally Anderson / Tom Blake / Joshua Charadia / Casey Chen Carly Dodd / Aidan Hartshorn / Claire Healy & Sean Cordeiro / Savannah Jarvis Mason Kimber / Fiona Lowry / Mimili Maku Arts artists Robert Fielding, Umatji Tjapalyi, Emma Singer, Betty Campbell, and Pauline Wangin / Dylan Mooney / Thea Anamara Perkins Joan Ross / Marilyn Russell / Darrell Sibosado / Sally Scales / Vipoo Srivilasa / James Tylor Kate Vassallo / Natasha Walsh / Christopher Zanko

_____________________________ Robert Fielding 684-26, 2026 synthetic polymer paint on linen 122 x 122 cm

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COVER TO COVER. 4

Letter from the Director

IN THE MUSEUM 68 James Tylor: Turrangka…in

IN THE STUDIO 6

Savannah Jarvis

10 Robert Fielding 14 Mimili Maku Arts 20 Vipoo Srivilasa 26 Joshua Charadia

the shadows 76 Thread: Connecting Stories and Community 80 Ngarn Wa’ngal: Art of the Gum Tree 86 Connections: MCA x Tate 90 15 Artists Prize 2026

IN THE GALLERY 30 Kate Vassallo: Soft Modulation 36 Claire Healy & Sean

IN FOCUS 94 Holly Anderson

Cordeiro: The Village Idiom 42 Aidan Hartshorn: On whose authority 52 Joan Ross:

FEATURED MUSEUM ACQUISITION 96 Tom Blake

Hidden in plain sight 60 Casey Chen: Throwdown Over Loose Change

EXHIBITION GUIDE 100 Spring '26

Dylan Mooney Spathoglottis Plicata – Large Purple Orchid, 2024 digital illustration hand-painted with Yuwi ochre 118.9 x 84.1 cm, ed. of 5 + 2 AP

CONTRIBUTORS N.Smith

COVER ARTWORK Vipoo Srivilasa Self Portrait 3, 2026

PUBLISHING COORDINATOR Rosy Leake

glazed ceramic, gold lustre and mixed media 35 x 22 x 11 cm 3

Letter from the Director. Spring 2026

It’s hard to believe we’re already in spring. The year has moved quickly, with a lot happening for the artists we represent, both at the gallery and beyond. The months ahead bring some of those stories back into the gallery, alongside new exhibitions and collaborations we’ve been looking forward to sharing. This spring feels especially significant for us, as the NSG Edition turns one. Over the past twelve months, the magazine has become a space to look more closely at the artists, exhibitions, and ideas shaping our program. As we enter its second year, we’re excited to introduce some new additions and continue sharing the stories behind the work. On the cover is Vipoo Srivilasa with one of his joyous works. This spring, Vipoo returns to the gallery for his largest exhibition with us to date, bringing together new works that continue his generous and distinctive approach to storytelling, community, and connection. We also welcome early career artist Savannah Jarvis, whose paintings explore how it feels to live with chronic pain. Rather than illustrating pain directly, Savannah creates quiet psychological interiors that give form to experiences that can be difficult to articulate. Later in the year, we’re excited to collaborate with Mimili Maku Arts on two connected depictions of Country. Robert Fielding will present a solo exhibition looking at the car graveyards scattered across the APY Lands, while a group of women artists from Mimili Maku will collaborate to share ancient stories and knowledge through their work. 4

Joshua Charadia will also return to the gallery with a considered new body of work that pushes his practice further from the figurative and into abstraction, continuing his ongoing investigation of memory and place. It’s a full spring program, bringing together artists at very different stages of their careers and practices. We can’t wait to share it with you. Warmest, Nick Founder & Director N.Smith Gallery IG: @nw.smith

STUDIO VISIT SAVANNAH JARVIS. Watching Savannah Jarvis’ practice develop has been incredibly rewarding, particularly as she continues to find new ways of translating deeply personal experiences into painting. Our conversations around her upcoming exhibition have offered a fascinating insight into how she approaches chronic pain and the psychological complexities of living with heightened awareness of the body. There is a remarkable sensitivity to her work, balanced by an extraordinary level of technical skill. Savannah is an artist with an incredibly exciting future, and this new body of work promises to be another significant step in her practice. We’re looking forward to seeing how her ideas unfold in the studio, with familiar domestic spaces taking on unexpected meanings through her distinctive approach to painting. It’s a privilege to work alongside an artist who brings such thoughtfulness and honesty to her practice.

The House Watches opens at N.Smith Gallery in September. 6

___________________________________________ Photos of Savannah Jarvis by James Caswell. 7

ON COUNTRY ROBERT FIELDING.

Spending time with Robert Fielding and discussing his latest body of work has offered a fascinating insight into the way he sees Country. His ongoing exploration of the car graveyards scattered across the APY Lands continues to evolve, with new ideas emerging around the place these vehicles hold in the contemporary landscape and the stories they carry. We’re particularly excited to see how these conversations will translate into his upcoming exhibition at N.Smith Gallery. Robert has an extraordinary ability to shift our understanding of familiar objects, and this new body of work promises to offer another compelling perspective on his connection to Country. The exhibition will coincide with presentations of his work at the National Gallery of Australia and Samstag Gallery in Adelaide.

Robert Fielding’s UNDERBELLY opens at N.Smith Gallery in October. 11

______________________________________ Robert Fielding working on APY Lands. 13

ON COUNTRY MIMILI MAKU ARTS.

Minyma Maku (Witchetty Grub Women) brings together women artists from Mimili and opens 22 October - 14 November, 2026 at N.Smith Gallery. 15

There is something incredibly special about spending time in the Mimili Maku Arts studio. Artists paint alongside one another, sharing stories, exchanging ideas, and bringing their own distinctive approaches to the canvas. Watching the women work together offers a wonderful understanding of the relationships that sit at the heart of this remarkable art centre. Our upcoming exhibition, Minyma Maku (Witchetty Grub Women), will celebrate these women and the community they have built around their practice. We’re excited to bring together a collection of paintings that will reflect both the individuality of each artist and the strength of their shared cultural knowledge. It promises to be a joyful exhibition, and a beautiful opportunity to experience the creative energy of Mimili.

Minyma Maku (Witchetty Grub Women) opens at N.Smith Gallery in October. 17

________________________________________________________________________ Previous page left: Betty Campbell; left: Betty Mula; this page: Pauline Wangin photo by Rohan Thomson. All images taken on APY Lands. 19

IN THE STUDIO VIPOO SRIVILASA.

Vipoo Srivilasa's studio is filled with colourful characters, works in progress and a great selection of tea and tea ware. For his upcoming exhibition, The Things We Keep, Vipoo has taken on his biggest ceramic challenge yet: a sculpture standing 175 cm tall, the tallest he has ever made. “Working on a large scale is challenging. Everything becomes three times more difficult and time-consuming,” Vipoo explains. From building and moving the work while the clay is still wet to firing, glazing and transporting it, every stage presents new challenges. Too large for his kiln, the sculpture was made in three sections and joined together after firing. After more than two decades of working predominantly in blue and white, Vipoo is also embracing colour, finding both challenges and a new freedom of expression. Exploring the things we carry through life, The Things We Keep brings together new ceramic and mixed-media sculptures that reflect Vipoo’s ability to find meaning in the familiar aspects of being human. With his characteristic generosity, warmth and humour, Vipoo brings tenderness to deeply personal stories, creating works that invite visitors to discover something of themselves.

The Things We Keep opens at N.Smith Gallery in November.

____________________________________________ Studio photography by Meghan Lawson. Artwork photography by Simon Strong. 24

IN THE STUDIO JOSHUA CHARADIA

Visiting Joshua Charadia’s studio recently offered an exciting glimpse into the next chapter of his practice. Following the significant shift towards abstraction in his 2025 exhibition, it has been fascinating to see Joshua continue to challenge his own visual language. Our conversations in the studio revealed an artist increasingly interested in how we experience the world around us, and the space between what we see and what we perceive. His upcoming exhibition, Only a thin membrane between us, will take these investigations further, building on the extraordinary technical skill that has long defined his paintings while opening up new possibilities in his compositions. There is a real sense of discovery in the studio at the moment, and we’re looking forward to sharing this next evolution of Joshua’s work with our audience.

Only a thin membrane between us opens at N.Smith Gallery in November. 26

__________________________________________ Joshua Charadia Only a thin membrane between us, 2026 oil on board 90 x 180 cm

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Kate Vassallo Soft Modulation 30 Jun – 25 Jul

Kate Vassallo’s Soft Modulation brings together a luminous body of

paintings shaped by process, repetition, and the subtle interplay of colour, tone, and texture. “I am motivated by the power visual abstraction has to communicate in ways other language can’t," explains Vassallo. "I see my practice as an ebb and flow of controlling and letting go; setting up structures to work within, but also surrendering to the process.” Built slowly through countless translucent layers of paint, Kate’s works balance discipline with intuition, allowing moments of chance to emerge within carefully constructed systems. Drawing on the language of midcentury design and her ongoing engagement with abstraction, Soft Modulation presents hazy fields of colour and texture that evoke sensations of light, memory, and time, quietly pulsing with movement, atmosphere, and accumulated histories. 32

__________________________________________ Kate Vassallo (opposite) Soft Modulation 1, 2025 acrylic on canvas 40 x 60 cm (above) Blaze, 2025 acrylic on canvas 94 x 80 cm

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__________________________________________________________________________ Opposite: Installation views – Kate Vassallo: Soft Modulation Above: Melt 1, 2026, acrylic on board, 25 x 20 cm 35

Claire Healy & Sean Cordeiro The Village Idiom 30 Jun – 25 Jul 37

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Installation view – Claire Healy & Sean Cordeiro: The Village Idiom featuring 馬鹿と煙は高い所に昇る (Baka to kemuri wa takai tokoro ni noboru), 2026. Translation: Fools and smoke rise to high places, acrylic gouache on repurposed 1984 Honda Civic

Working as a collaborative duo since 2001, Claire Healy & Sean Cordeiro’s practice reflects a preoccupation with the

dynamics of global mobility, fallout of consumer society, and contemporary notion of home. The Village Idiom brings together new works by Healy & Cordeiro that emerge from everyday life and their encounters with the landscape surrounding their Blackheath studio. Moving between the natural and the manmade, the exhibition considers how objects, pathways, and language shape the ways we observe and inhabit the world. Across the exhibition, discarded metallic forms are overlaid with motifs drawn from flora and ornament, where traces of human presence and the cycles of growth and decay intersect. What emerges is a meditation on perception and rediscovery, where objects become vessels for reflection and the boundaries between observer and environment remain in constant flux.

__________________________________________ Claire Healy & Sean Cordeiro (Top left) 横飯 (Yoko meshi), 2026 Translation: A meal eaten sideways, acrylic gouache on repurposed aluminium can, 26 x 26 cm (Top right) 窓際族 (Mado giwa zoku), 2026 Translation: The window-side tribe, acrylic gouache on repurposed aluminium can, 26 x 26 cm

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Aidan Hartshorn

On whose authority 6 – 22 Aug

Aidan Hartshorn's On whose authority is a new exhibition spanning installation, sculpture, and etchings that examines the institutional collection and storage of ancestral and cultural material.

Working with stone collected across Wolgal/Wiradjuri Country, Hartshorn vacuum seals each piece, referencing the ethnographic methods used to package Aboriginal “artefacts” uncovered during excavation works for infrastructure projects. Alongside this installation, the exhibition includes a series of etchings on aluminium dibond, plywood, steel, and sheepskin, extending Hartshorn’s examination of institutional systems and the displacement of cultural material.

Through these works, Hartshorn critiques the ways his ancestral inheritance and other cultural material have been removed from Country, catalogued, and contained within institutional collections, challenging systems that reduce living cultures to archival objects. Instead, he asserts that the knowledge held within these removed belongings remains inseparable from Country, ongoing custodianship, and continued cultural practice.

_________________________________________________ Aidan Hartshorn Untitled (stone) #1, 2026 white screen print on plywood 89 x 60 cm

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___________________________________________________________________________ Installation view – Aidan Hartshorn: On whose authority. From left: Untitled (Skin) #4, 2026, laser etching on sheepskin, temporary fencing mesh; Untitled (Skin) #3, 2026, laser etching on sheepskin, temporary fencing mesh; Untitled (Skin Triptych), 2026, laser etching on sheepskin, 183 x 117 cm. 47

_____________________________________________________ 49 Installation views – Aidan Hartshorn: On whose authority.

________________________________________________________________________ Opposite: On whose authority, 2026, 96 Cryovac sealed river stones on temporary fencing mesh, 490 x 233.5 cm. Top: On whose authority (detail), 2026,12 Cryovac sealed broken river stones 495 x 29 cm. Above: Untitled (Skin Triptych), 2026, laser etching on sheepskin, 183 x 117 cm. 51

Joan Ross HIDDEN IN PLAIN SIGHT 27 Aug – 19 Sept 53

Joan Ross’ exhibition Hidden in plain sight continues her longstanding interrogation of Australian colonial history, examining greed, the legacy of colonisation, and the insidious ways power and ownership continue to shape Australian identity. Through a series of works that reimagine colonial portraiture and still life, Ross brings to light the ways colonial attitudes and structures of power remain present today.

Drawing from the visual language and conventions of colonial art history, Ross creates fictitious narratives that unsettle familiar accounts of Australia’s past. By inserting new perspectives into historical imagery, she asks who has been given the authority to record history and from what perspective, and how these narratives continue to shape our understanding of the present.

_______________________________________________ Joan Ross (previous page) Now you can't fly away, 2026 acrylic on canvas 103 x 83 cm (opposite left) Can I help you?, 2025 watercolour and synthetic polymer paint on paper, 86 x 67.5 cm (frame) (opposite right) What we learn from our parents, 2025 watercolour and synthetic polymer paint on paper, 86 x 67.5 cm (frame)

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____________________________________________________________ Joan Ross I named these flowers after myself, 2025 acrylic on canvas 104 x 84 cm

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__________________________________________________ 59sight. Installation views – Joan Ross: Hidden in plain

e h n C y e s a C

Throwdown Over Loose Change 27 Aug – 19 Sept 61

Casey Chen’s new exhibition Throwdown Over Loose Change brings together five ceramic plates, three tile-based wall works, and a vessel, that draw on ancient and contemporary stories, personal memory, and the artist’s lived experience growing up as the child of Chinese immigrants.

Combining humour and nostalgia, Chen moves between cultural histories and everyday experience, bringing traditional ceramic forms and imagery into conversation with contemporary life. While his techniques are rooted in tradition – his forms are hand-thrown and his decorative patterning adopts Chinese Doucai porcelain painting techniques, involving the application of cobalt underglaze and enamel overglaze painting – his imagery often plays with the stereotypes, characteristics and absurdity of pop-cultural icons. Across the exhibition, stories inherited through family and culture sit alongside references drawn from the world in which he grew up.

The works reflect on the experience of living between cultures, and the ways identity is shaped, inherited, adapted, and made one’s own. In Chen’s speculative worlds, the past is seamlessly entangled with the present.

___________________________________________________ Casey Chen A pretty kettle of fish, 2026 hand-thrown porcelain, overglaze enamel, gold and platinum lustre, gold leaf, 54 x 26 x 26 cm

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____________________________________________________________ Casey Chen (opening pages) Grand ambitions 1 and 3, 2026 both hand-painted porcelain plates, overglaze enamel decoration, platinum and gold lustre 26.5 x 26.5 cm (each) (previous page left) Door Gods: Yuchi Gong, (previous page right) Door Gods: Qin Shubao, 2026 glazed earthenware, overglaze enamels, gold and platinum lustre, stained oak and Sally Anderson grout PP's woman holding with quilt sky, 2025 62.5 x 42.5 cm (each) acrylic on linen 137 x 153 cm (this page) Installation view – Casey Chen: Throwdown Over Loose Change

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James Tylor

Turrangka…in the shadows 68

Art Gallery of South Australia 69 31 Jul – 1 Nov 2026

Turrangka…in the shadows surveys over a decade of James Tylor’s

practice and brings together the most comprehensive selection of his unique daguerreotypes, expansive digital photographic series, handmade Kaurna cultural objects and furniture. The exhibition title is drawn from a Kaurna word, highlighting a significant ongoing aspect of Tylor’s practice: the learning and sharing of his Indigenous language. As well as shadow, turra also translates to reflection, image and mirror. At the core of Tylor’s practice is a continuously innovative program of photographic intervention, disrupting the image to redact or highlight 70

visual information. He systematically alters the reading of Country by excising information from the photographic print or inscribing language and place-names onto the surface of his daguerreotypes. These photographs provide a glimpse into Tylor’s broader practice of recreating Kaurna cultural artefacts, architecture and ephemera. Antiquated analogue photographic processes including Becquerel daguerreotypes and hand-tinting are also used to generate a new archive of pseudo-historical images. Tylor’s recreations point to the absence of these images from the hegemonic depiction of colonial Australia’s visual history. 71

_______________________________________________________________________ All images installation views – James Tylor: Turrangka…in the shadows, Art Gallery of South Australia. Photos: Saul Steed. 74

Thread: Connecting Stories and Community 76

National Portrait Gallery 4 Jul – 13 Sep 2026 77

____________________________________________ Above: Kyra Mancktelow Untitled, 2022 Ink impression on paper Opposite: James Tylor, Craig Tuffin, and Dr Elisa deCourcy James, Rebecca and Sam Mapu, 2021 1/4 plate daguerreotype in a leather case lined with Nantu Watpa Grey Kangaroo fur, edition

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Kyra Mancktelow and James Tylor are included in Thread: Connecting Stories and Community at the National Portrait Gallery. At the heart of the exhibition is Kyra’s possum-skin cloak, made over months alongside family, community, and Elders from Logan. Shown here in full for the first time, its ochre and burned marks carry stories shared through workshops and yarning circles. The cloak is the work around which the exhibition was built, and the thread that gives the show its name. James Tylor’s daguerreotype draws on one of photography’s earliest processes, using the medium to examine the complex histories of representation, identity, and colonial Australia. His practice reclaims a process historically used to document First Nations people, turning the camera back towards questions of agency, memory, and cultural identity.

Ngarn Wa’ngal: Art of the Gum Tree

Potter Museum of Art 10 Jul – 21 Nov 2026 81

Joan Ross and James Tylor are included in Ngarn Wa’ngal: Art of the Gum Tree at the Potter Museum of Art. Bringing together 163 artworks spanning colonial, twentieth-century and contemporary practice, Ngarn Wa’ngal: Art of the Gum Tree explores the enduring cultural, ecological and symbolic significance of the gum tree through works drawn from across Australia. The exhibition features works by Joan Ross and James Tylor alongside leading contemporary artists, placing their practices in conversation with historical and contemporary perspectives on landscape, identity and Country. Through this broad dialogue, Ngarn Wa’ngal considers the gum tree as both a living presence and a powerful source of artistic inspiration.

________________________________________________________________________ Opening page: Joan Ross, The VIP Lounge, 2015, hand-painted pigment print on cotton rag paper, 61 x 90 cm, edition of 5 + 2 AP. Previous page left: Rebecca Selleck & James Tylor, Fire Country Bookcase, 2022, Burnt Australian Ash timber with cast bronze, 130 x 40 x 60cm. Previous page right: Joan Ross, Not a $tone unturned, 2015, hand-painted pigment print on cotton rag paper, 59 x 90 cm, edition of 5 + 2 AP. Left: Joan Ross, M’lady Ikebana, 2015, hand-painted pigment print on cotton rag paper, 91 x 71 cm, edition of 5 + 2 AP. 85

Connections: MCA x Tate

Museum of Contemporary Art Australia 15 Aug 2026 – 1 Mar 2027 87

Kyra Mancketlow and Darrell Sibosado are included in Connections: MCA x Tate. Bringing together works by 33 Australian artists, the presentation reframes key acquisitions from the 2015–2022 MCA and Tate International Joint Acquisition Program within an Australian context. Connections: MCA x Tate examines themes of cultural exchange and trade, travel, migration, and diasporic experience, while considering the ways artists have responded to the ongoing impacts of British colonisation. Through diverse contemporary practices, the exhibition traces contested histories and reflects on the enduring strength of First Nations knowledge, culture, and community.

Within this broader dialogue, Kyra and Darrell’s works contribute distinct perspectives on identity, Country, and cultural continuity, offering nuanced reflections on history, resistance, and lived experience. Their inclusion highlights the vital role of First Nations artists in shaping contemporary conversations around place, memory, and belonging.

_______________________________________________________________________ Installation views – Connections: MCA x Tate, Museum of Contemporary Art Australia.

15 Artists Prize 2026

Redcliffe Art Gallery 15 Aug – 7 Nov 2026

Savannah Jarvis announced winner of the 2026 15 Artists Prize with her work Two patients try to explain nociplastic pain to one another. Presented annually by the City of Moreton Bay at Redcliffe Art Gallery, 15 Artists is an acquisitive contemporary art prize bringing together leading artists from across Australia. Each year, 15 artists are invited to participate in the exhibition, with the winning artist awarded $20,000 and their work acquired into Council’s Art Collection. Jarvis’s winning work explores the experience of chronic pain, using houses as metaphors for the body to reflect the different ways pain is understood and communicated. Guest judge Katherine Dionysius said, “The more time you spend with this work, the more it reveals. It rewards slow looking … It stayed with me after I left the gallery, and it continues to occupy space in my thinking now.” Her diptych Two patients try to explain nociplastic pain to one another is part of the painting series Conversations between Patients which explores varying symbolic and linguistic approaches to communicating chronic pain. The work imagines pain as two houses trying to converse — linguistic expression meets visually overwhelming symbolic systems; distorted and abstracted. Together, they suggest how symptoms of chronic pain can be expressed differently between bodies, showcasing widely varied means of conceptualising and translating the lived experience of pain, even when the underlying experience is shared. By replacing the body with the house, Jarvis reflects on pain as something that we inhabit as equivocally as it inhabits us; invisible, persistent, and needing to be understood.

__________________________________________ Savannah Jarvis Two patients try to explain nociplastic pain to one another, 2026 Oil on canvas, acrylic pearl, freshwater pearl, polymer clay on canvas 172 x 96 x 10 cm (each)

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IN FOCUS. Holly Anderson Passageway, 2025 oil on canvas 160 x 60 cm

Holly Anderson’s Passageway depicts just that: a passageway. Framed by elaborate architectural detailing, it resembles a set of pearly white gates, beckoning us across the threshold. At its centre, a burst of white light punctures the composition. Stare long enough and this empty white space begins to morph and dance: is there a figure walking toward, or perhaps away from us? Or is this white void coaxing us into something else entirely, another time or dimension? Anderson excels at this interplay of light and space, her grid-like compositions hovering between abstraction and figuration.Yet it’s Anderson’s use of colour that fascinates me most about this work. Amber, burnt umber, golden yellow and deep burgundy evoke a familiar interior, perhaps an old timber home, gallery or school. Then flashes of neon, almost alien shades of chartreuse and electric turquoise fracture this familiarity, transporting us from the recognisable to the uncanny. What makes this tension so compelling is the way the architecture itself seems to dissolve before our eyes. The rigid symmetry of the passageway offers a sense of order, yet Anderson’s fragmented, almost glitch-like brushwork disrupts any sense of stability. The structure flickers between solidity and disappearance, as though we are witnessing a memory of a place rather than the place itself. I find myself questioning whether the passageway leads somewhere tangible or exists purely as a psychological space, shaped by recollection, anticipation and the unknown. Perhaps this is the work’s greatest intrigue: its ability to make the familiar feel momentarily otherworldly, inviting us to linger in the space between recognition and uncertainty.

Words by Rosy Leake 94

FEATURED MUSEUM ACQUISITION.

Artist: Tom Blake Institution: Artbank Work: index, leaves (wind bell II), 2026 Hand etched de-silvered mirror, light box, artist made aluminium frame, 41 x 31cm 96

Scan to shop online Holly Anderson Puzzle.

NSG Shop. Discover NSG Shop – a platform with a range of items perfect for any arts lover. Whether you’re looking for the perfect gift or something to inspire your own curiosity, browse through our exclusive books, prints, and collectibles. With worldwide shipping on all items, explore in person at the gallery or browse online. 99

NSG EXHIBITION GUIDE. NSW

Casey Chen: Throwdown over loose change. N.Smith Gallery 27 Aug - 19 Sep 2026

Christopher Zanko in Edge City Wollongong Art Gallery until 18 Oct

Minyma Maku (Witchetty Grub Women). N.Smith Gallery 22 Oct - 14 Nov 2026

Joan Ross: Hidden in plain sight. N.Smith Gallery 27 Aug - 19 Sep 2026

Claire Healy & Sean Cordeiro in New Religion Ngununggula until 18 Oct

Vipoo Srivilasa: The Things We Keep. N.Smith Gallery 19 Nov - 12 Dec 2026

Savannah Jarvis: The House Watches. N.Smith Gallery 24 Sep - 17 Oct 2026

Joan Ross: Colonial Grab. Museum of Contemporary Art Australia until 8 Nov 2026

Joshua Charadia: Only a thin membrane between us. N.Smith Gallery 19 Nov - 12 Dec 2026

Natasha Walsh: Transmutation of the night sky. N.Smith Gallery 24 Sep - 17 Oct 2026

Robert Fielding: UNDERBELLY. N.Smith Gallery 22 Oct - 14 Nov 2026

Kyra Mancktelow: And Still I Rise Art Gallery of NSW until 10 Jan 2027

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Super Nature Art Gallery of New South Wales, until February 2027

Salon des Refusés David Roche Gallery, Adelaide 14 Aug - 24 Oct 2026

NGV Triennial National Gallery of Victoria 13 Dec 2026 - 11 Apr 2027

QLD

Connections: MCA x Tate. Museum of Contemporary Art, Australia until 1 Mar 2027

James Tylor: Turrangka...in 15 Artists. Redcliffe Art Gallery the shadows Art Gallery of South Aus- 15 Aug - 7 Nov 2026 tralia until 1 Nov

INTERNATIONAL

Near at Hand: Dobell Australian Drawing Biennial 2026, AGNSW until 7 Mar 2027

AGSA Screen Wavelength Thea Anamara Perkins in 18e Biennale de Lyon. Art Gallery of South Aus19 Sep - 13 Dec 2026 tralia until 4 Jul 2027

ACT

VIC

Thread: Connecting Stories and Community. National Portrait Gallery 4 Jul - 13 Sep 2026

Ngarn Wa’ngal: Art of the Gum Tree. Potter Museum of Art until 21 Nov 2026 101

___________________________________ Natasha Walsh The Garden of Earthly Delights (detail), 2026 oil on copper with hand-carved cabinet 135 x 85 cm

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