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

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

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

02 Elizabeth Durack’s Mid West landscapes by 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

02 Elizabeth Durack’s Mid West landscapes by 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

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

03 Ngarra and the Ngarrangkarni by Darren Jorgensen, Perth

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

04 Alistair Rowe: Holding things together by 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

04 Alistair Rowe: Holding things together by 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

05 Ruination by 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

05 Ruination by 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

06 Apperception by 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

06 Apperception by 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

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

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

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

08 Cultural currency: El Anatsui at Carriageworks by 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

08 Cultural currency: El Anatsui at Carriageworks by 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

09 Resonant rooms: ‘When silence falls’ at the AGNSW by 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

09 Resonant rooms: ‘When silence falls’ at the AGNSW by 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 by 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 by 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’ by 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’ by 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