1 Soft power: Dani Marti and Bharti Kher at the 2016 Perth International Arts Festival: Christopher Barrett-Lennard,  Perth     Dani Marti: Black Sun, exhibition view, Fremantle Arts Centre (FAC), 2016; image courtesy FAC; photo: Rhianna Nelson

1 Soft power: Dani Marti and Bharti Kher at the 2016 Perth International Arts Festival: Christopher Barrett-Lennard, Perth

Dani Marti: Black Sun, exhibition view, Fremantle Arts Centre (FAC), 2016; image courtesy FAC; photo: Rhianna Nelson

  2 Elizabeth Durack’s Mid West landscapes: Ted Snell,  Perth    Elizabeth Durack,  Greenough , 1960, pencil on paper, commissioned by the Municipality of Geraldton, 1960; © with kind permission of the trustees, the estate of Elizabeth Durack

2 Elizabeth Durack’s Mid West landscapes: Ted Snell, Perth

Elizabeth Durack, Greenough, 1960, pencil on paper, commissioned by the Municipality of Geraldton, 1960; © with kind permission of the trustees, the estate of Elizabeth Durack

  3 Ngarra and the Ngarrangkarni: Darren Jorgensen,  Perth    Ngarra drawing the work  From Barrgululu to Gularrt , c. 1997–98; photo: Kevin Shaw

3 Ngarra and the Ngarrangkarni: Darren Jorgensen, Perth

Ngarra drawing the work From Barrgululu to Gularrt, c. 1997–98; photo: Kevin Shaw

  4 Alistair Rowe: Holding things together: Robert Cook,  Perth    Alistair Rowe,  Support Acts , 2015, installation view, Lawrence Wilson Art Gallery, Perth, 2015 (wall works by Shannon Lyons); image courtesy the artist

4 Alistair Rowe: Holding things together: Robert Cook, Perth

Alistair Rowe, Support Acts, 2015, installation view, Lawrence Wilson Art Gallery, Perth, 2015 (wall works by Shannon Lyons); image courtesy the artist

  5 Ruination: Geoffrey Batchen,  Sydney    Ben Cauchi,  That which can be seen is not all there is , 2013, ambrotype, 36 x 28cm; image courtesy the artist and Darren Knight Gallery, Sydney; Brett McDowell Gallery, Dunedin; Peter McLeavey Gallery, Wellington; and McNamara Gallery, Wanganui

5 Ruination: Geoffrey Batchen, Sydney

Ben Cauchi, That which can be seen is not all there is, 2013, ambrotype, 36 x 28cm; image courtesy the artist and Darren Knight Gallery, Sydney; Brett McDowell Gallery, Dunedin; Peter McLeavey Gallery, Wellington; and McNamara Gallery, Wanganui

  6 Apperception: Justine Varga,  Sydney    Justine Varga,  Edge,  from the series ‘Accumulate’, 2014–15, type-C hand print, 123.5 x 98.5cm, edition of 5; image courtesy the artist, Hugo Michell Gallery, Adelaide, and Stills Gallery, Sydney; photo: Stephen Oxenbury

6 Apperception: Justine Varga, Sydney

Justine Varga, Edge, from the series ‘Accumulate’, 2014–15, type-C hand print, 123.5 x 98.5cm, edition of 5; image courtesy the artist, Hugo Michell Gallery, Adelaide, and Stills Gallery, Sydney; photo: Stephen Oxenbury

  7 Beautiful collision: ‘Borland + Borland’ at Canberra Glassworks: Anna Madeleine,  Canberra     Borland + Borland , exhibition view of Emma Borland’s glass panels, Canberra Glassworks, 2015–16; image courtesy Canberra Glassworks; photo: Adam McGrath

7 Beautiful collision: ‘Borland + Borland’ at Canberra Glassworks: Anna Madeleine, Canberra

Borland + Borland, exhibition view of Emma Borland’s glass panels, Canberra Glassworks, 2015–16; image courtesy Canberra Glassworks; photo: Adam McGrath

  8 Cultural currency: El Anatsui at Carriageworks: Pedro de Almeida,  Sydney    El Anatsui,  Devotees , 1987, installation view, Carriageworks, Sydney, 2016, commissioned and presented as a Schwartz Carriageworks project in association with Sydney Festival; photo: Zan Wimberley

8 Cultural currency: El Anatsui at Carriageworks: Pedro de Almeida, Sydney

El Anatsui, Devotees, 1987, installation view, Carriageworks, Sydney, 2016, commissioned and presented as a Schwartz Carriageworks project in association with Sydney Festival; photo: Zan Wimberley

  9 Resonant rooms: ‘When silence falls’ at the AGNSW: Margaret Farmer,  Sydney    Richard Bell and Emory Douglas,  We Can Be Heroes , 2014, synthetic polymer paint on canvas, 180 x 240cm, Art Gallery of New South Wales, Sydney, purchased with funds from the Wendy Barron Bequest Fund, 2015; image courtesy Milani Gallery, Brisbane; © Richard Bell and Emory Douglas

9 Resonant rooms: ‘When silence falls’ at the AGNSW: Margaret Farmer, Sydney

Richard Bell and Emory Douglas, We Can Be Heroes, 2014, synthetic polymer paint on canvas, 180 x 240cm, Art Gallery of New South Wales, Sydney, purchased with funds from the Wendy Barron Bequest Fund, 2015; image courtesy Milani Gallery, Brisbane; © Richard Bell and Emory Douglas

  10 Getting away with it: Gilbert & George at MONA: Rachel Kent,  Hobart    Gilbert & George,  ALL MY LIFE I GIVE YOU NOTHING AND STILL YOU ASK FOR MORE , 1970, mixed media, 193 x 75cm (each), private collection

10 Getting away with it: Gilbert & George at MONA: Rachel Kent, Hobart

Gilbert & George, ALL MY LIFE I GIVE YOU NOTHING AND STILL YOU ASK FOR MORE, 1970, mixed media, 193 x 75cm (each), private collection

  11 National art and the National Gallery: The new collection display and ‘Tom Roberts’: Daniel Thomas,  Canberra    Tom Roberts, exhibition view, National Gallery of Australia (NGA), Canberra, 2015–16, with (from left): Tom Roberts,  Madame Hartl , 1909–10, oil on canvas, 114.5 x 76.6cm, NGA, Canberra, purchased 1969; Derwent Wood,  Tom Roberts , 1910, patinated plaster, 55.9 x 34 x 26cm, Art Gallery of New South Wales, Sydney, gift of Tom Roberts, 1929; Tom Roberts,  Mrs Tom Roberts, c.  1906, oil on canvas, 76.8 x 54cm, Art Gallery of Western Australia, Perth, purchased with funds from the Hackett Bequest Fund, 1949; image courtesy the NGA, Canberra

11 National art and the National Gallery: The new collection display and ‘Tom Roberts’: Daniel Thomas, Canberra

Tom Roberts, exhibition view, National Gallery of Australia (NGA), Canberra, 2015–16, with (from left): Tom Roberts, Madame Hartl, 1909–10, oil on canvas, 114.5 x 76.6cm, NGA, Canberra, purchased 1969; Derwent Wood, Tom Roberts, 1910, patinated plaster, 55.9 x 34 x 26cm, Art Gallery of New South Wales, Sydney, gift of Tom Roberts, 1929; Tom Roberts, Mrs Tom Roberts, c. 1906, oil on canvas, 76.8 x 54cm, Art Gallery of Western Australia, Perth, purchased with funds from the Hackett Bequest Fund, 1949; image courtesy the NGA, Canberra