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Reading the entrails: Digesting posthuman entanglement
Sasha Grbich
Nagesh's recipe for Biryani
Nagesh Seethiah
OzAsia 2019
Anna O'Loughlin
Desert Mob 2019
Kieran Finnane
Louise Haselton: like cures like
Elle Freak
Vanishing into action: Art beyond the contemporary
Alasdair Foster
Choose your own immersion: Art schools as a site of creative becoming
Una Rey
Being an artist and an art teacher
Henry Ward
Shapes of knowledge: A conversation
Maria Bilske, Hannah Mathews and Alex Martinis Roe
Falling in love (Or is the curatorial a methodology?)
Tara McDowell
Museum MACAN: Critical conversations through art
Aaron Seeto
Risky business: Engaging adolescents at the Art Gallery of South Australia
Kylie Neagle
FEM-aFFINITY
Jacqueline Millner
Virginia Cuppaidge: The Nature of Abstraction
Una Rey
58th International Art Exhibition
Marco Marcon
A personal reflection on self-determining documentary filmmaking practice
Larissa Behrendt
Unravelling the past: Barbed wire and campfire learnings
Ali Cobby Eckermann
Speaking back to colonial collections: Building living into Aboriginal archives
Kirsten Thorpe
Sydney Elders: Continuing Aboriginal Stories
Jonathan Jones
Quilty
Rebecca Freezer
The National 2019: New Australian Art
Craig Judd
Heysen Sculpture Biennial 2019
Kirsty Darlaston
Yurtu Ardla
Darren Jorgensen
Queer uses of colour: A tinted hermeneutics
Abbra Kotlarczyk
Revisiting colour problems: Emily Vanderpoel, Hilma af Klint, Becca Albee, Clare Milledge
Amelia Wallin
Hi-vis commodities: A body corporate’s toxic economy
Tessa Laird and Debris Facility
Local colour: Dyeing and women’s wealth
Julie Ewington
Wardlipari Homeriver: Vulnerable observations
Uncle Lewis Yarluburka O’Brien and Ali Gumillya Baker
James Turrell: Night life in Brisbane
Diana Young
Donald Brook 1927–2018
Stephanie Britton and Janet Maughan
6th Guangzhou Triennial
Darren Jorgensen and Tami Xiang
The Partnershipping Project
Sean Kelly
Unhallowed Arts
Darren Jorgensen and Gemma Weston
Bush Women
Gemma Weston
Oceania
Mandy Treagus
Editorial: Ways of seeing
Julianne Pierce
The BADFAITH machine: The phantom point of view in VR
Kit Messham-Muir
Metascape, memory and spacetime: The museum in VR
Andrew Yip
Meet Lisa Walker in her workshop: VR in the museum
Justine Olsen and Prue Donald
OzAsia Festival Visual Arts Program
Margot Osborne
Limestone Coast Video Art Festival
Eve Sullivan
Systematic
Sean Kelly
Desert Mob 2018
Kieran Finnane
Sublime Plight: Richard Mosse, Ai Weiwei and the social turn
Wes Hill
Inhuman flow: Censorship and art in the two Chinas
Darren Jorgensen and Tami Xiang
Human flow in Melanesia: Taloi Havini's artefacts and habitats
Nicholas Thomas
Foreign returned: Between expatriate and repatriate in Mumbai
Balamohan Shingade
Alana Hunt with Sanjay Kak: A conversation about Kashmir
Alana Hunt and Sanjay Kak
John Mawurndjul: I Am the Old and the New
Ian McLean
I hope you get this: Raquel Ormella
Miriam Kelly
The Field Revisited
Rex Butler
Camping in the shadow of the racist text
Ali Gumillya Baker
Walking in deadly blak women's footprints
Paola Balla
Don't scare me, coloniser: Empowerment through digital innovation
Susie Anderson
Creation art from Yamatji Country
Charmaine Green
Parekowhai: Détour | Pacific Sisters
Bruce E. Phillips
Tasmania's Black War: Undermining the foundations of terra nullius
Greg Lehman
Soda_Jerk: TERROR NULLIUS
Alexandra Heller-Nicholas
2018 Adelaide Biennial of Australian Art: Divided Worlds
Wendy Walker
Becoming-horse: Jenny Watson, Art Orienté Objet and Berlinde De Bruyckere
Georgina Downey
From god‑head to bin chook: Ibis in the Australian cultural imagination
Paul Allatson and Andrea Connor
Entangled looking: The crisis of the animal
Barbara Creed
Amalia Pica: please, open, hurry
Wes Hill
In Cahoots: Artists collaborate across country
Jack Pam
John Baldessari: Wall Painting
David Wlazlo
Art and feminism: Generations and practice
Anne Marsh
Jenny Watson's right to look
Wes Hill
Radical care: Personhood and the river
Sasha Grbich
Sera Waters: Domestic arts
Miriam Kelly
Queer feminism, intersectionality and awkward conversations
Courtney Coombs
Gender equality in the museum: The Cruthers Collection of Women's Art
Gemma Weston
Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art
Stephanie Radok
Brad Harkin: Loss. Gain. Reverb. Delay
Monte Masi
The Invisible | We Are All Affected
Craig Judd
Bayanihan Philippine Art Project
Anna O'Loughlin
Tjungunutja: From having come together
Alana Hunt
Diversity and disruption in arts and health
Clive Parkinson and Jill Bennett
Performing panic. How does your data glow?
Virginia Barratt
Another Antipodes: Urban Axis
Darren Jorgensen
Kader Attia
Una Rey
Angelica Mesiti: Relay League
Craig Judd
Material Politics | Céline Condorelli
Wes Hill
Lisa Reihana: Encounters in Oceania
Nicholas Thomas
Collisions: The Martu respond to Maralinga
Nici Cumpston and Una Rey
Indigenous perspectives on museum collections
Jilda Andrews
Brook Andrew: The Right to Offend is Sacred
Ian McLean
Politics of Sharing / On Collective Wisdom
Bruce E. Phillips
Minefield
Teri Hoskin
Data Visual: Editorial essay
Ian Milliss
Fake news, artificial intelligence and data visualisation
Sean Dockray
Big data: The panoptic medium of the information age
Simon Biggs
Hans Haacke and data: Infusing the banality of fact with meaning
Chris Nash
Wild food mapping as global cultural maintenance
Laura Fisher
kanalaritja: An Unbroken String
Greg Lehman
Tatsuo Miyajima: Connect with Everything | Time, Light, Japan: Japanese Art 1990s to Now
Andrew Yip
The Samstag Legacy: An Artist’s Bequest
Melinda Rackham
Making Modernism: O’Keeffe, Preston, Cossington Smith
Julia Lomas
The many fictions of Heman Chong
Aileen Burns, Johan Lundh and Heman Chong
Ella Barclay: A feeling of lost connections
Sumugan Sivanesan
Soda_Jerk: Flowers from the barrel of a gun
Adrian Martin
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