1 The Tasmanian effect: Fernando do Campo,  Hobart    Marina Abramović:  Private Archaeology , exhibition entrance view, Museum of Old and New Art (MONA), Hobart; image courtesy MONA, Hobart; photo: MONA/Rémi Chauvin

1 The Tasmanian effect: Fernando do Campo, Hobart

Marina Abramović: Private Archaeology, exhibition entrance view, Museum of Old and New Art (MONA), Hobart; image courtesy MONA, Hobart; photo: MONA/Rémi Chauvin

  2 World-in-a-world: ‘The Shadows Calling’ at Detached: Rachel Kent,  Hobart    Patricia Piccinini and Peter Hennessey,  Kami , 2015, installation view, Detached Cultural Organisation, Old Mercury Building, Hobart, 2015; Formply, chairs, rope, ABS plastic; image courtesy the artists and Detached, Hobart; photo: MONA/Rémi Chauvin

2 World-in-a-world: ‘The Shadows Calling’ at Detached: Rachel Kent, Hobart

Patricia Piccinini and Peter Hennessey, Kami, 2015, installation view, Detached Cultural Organisation, Old Mercury Building, Hobart, 2015; Formply, chairs, rope, ABS plastic; image courtesy the artists and Detached, Hobart; photo: MONA/Rémi Chauvin

  3 Embodying culture: Lola Greeno and Marina Abramović: Gabriella Coslovich,  Hobart    Lola Greeno’S necklace of 143 Bungana (king) maireener shells threaded on stainless steel with human hair clasp, 25cm; commissioned by the Museum of Old and New Art (MONA), Hobart, in January 2015 and presented to Marina Abramović on 14 June 2015; photo © MONA: Rosie Hastie

3 Embodying culture: Lola Greeno and Marina Abramović: Gabriella Coslovich, Hobart

Lola Greeno’S necklace of 143 Bungana (king) maireener shells threaded on stainless steel with human hair clasp, 25cm; commissioned by the Museum of Old and New Art (MONA), Hobart, in January 2015 and presented to Marina Abramović on 14 June 2015; photo © MONA: Rosie Hastie

  4 In the moment: Marina Abramović’s ‘Private Archaeology’ at MONA: Diane Soumilas,  Hobart    Marina Abramović and Ulay,  AAA–AAA,  1978, performance for video, RTB Television Studio, Liège, 15 mins duration; black-and-white video, sound, 9:54 mins duration; Museum of Old and New Art (MONA), Hobart; image courtesy MONA, Hobart; photo: MONA/Rémi Chauvin

4 In the moment: Marina Abramović’s ‘Private Archaeology’ at MONA: Diane Soumilas, Hobart

Marina Abramović and Ulay, AAA–AAA, 1978, performance for video, RTB Television Studio, Liège, 15 mins duration; black-and-white video, sound, 9:54 mins duration; Museum of Old and New Art (MONA), Hobart; image courtesy MONA, Hobart; photo: MONA/Rémi Chauvin

  5 A growing medium: The garden in art and design: Julia Jones,  Sydney    Janet Laurence,  Treelines Track , Bundanon NSW, 2014–16, detail views; linear passage of trees forming a walking track; stones scripted with text; dimensions variable; images courtesy the artist

5 A growing medium: The garden in art and design: Julia Jones, Sydney

Janet Laurence, Treelines Track, Bundanon NSW, 2014–16, detail views; linear passage of trees forming a walking track; stones scripted with text; dimensions variable; images courtesy the artist

  6 Suspending disbelief: ‘The photograph and Australia’: Claire Capel-Stanley,  Sydney    The photograph and Australia, exhibition view, Art Gallery of New South Wales (AGNSW), Sydney, 2015, with archival display and artworks by Tracey Moffatt; photo © AGNSW: Jenni Carter

6 Suspending disbelief: ‘The photograph and Australia’: Claire Capel-Stanley, Sydney

The photograph and Australia, exhibition view, Art Gallery of New South Wales (AGNSW), Sydney, 2015, with archival display and artworks by Tracey Moffatt; photo © AGNSW: Jenni Carter

  7 Against the grain: Melinda Harper’s ‘Colour Sensation’ at Heide: Carolyn Barnes,  Melbourne    Colour Sensation: The Works of Melinda Harper, exhibition view with 10 objects, each Untitled, 2006, private collection, Melbourne; Heide Museum of Modern Art, Melbourne, 2015; photo: Christian Capurro

7 Against the grain: Melinda Harper’s ‘Colour Sensation’ at Heide: Carolyn Barnes, Melbourne

Colour Sensation: The Works of Melinda Harper, exhibition view with 10 objects, each Untitled, 2006, private collection, Melbourne; Heide Museum of Modern Art, Melbourne, 2015; photo: Christian Capurro

  8 Coincident lines: Ruark Lewis and Barayuwa Mununggurr at the Northern Centre for Contemporary Art: James Paull,  Darwin    Rambangi,  Together as Equals , exhibition views, Northern Centre for Contemporary Art (NCCA), Darwin, 2015; images courtesy the NCCA; photos: Fiona Morrison

8 Coincident lines: Ruark Lewis and Barayuwa Mununggurr at the Northern Centre for Contemporary Art: James Paull, Darwin

Rambangi, Together as Equals, exhibition views, Northern Centre for Contemporary Art (NCCA), Darwin, 2015; images courtesy the NCCA; photos: Fiona Morrison

  9 Closing the temporal distance: Khadija von Zinnenburg Carroll’s Art in the Time of Colony: Stephen Gilchrist,  Sydney    Image courtesy and © Bob Newman

9 Closing the temporal distance: Khadija von Zinnenburg Carroll’s Art in the Time of Colony: Stephen Gilchrist, Sydney

Image courtesy and © Bob Newman

  10 Connecting threads: Go East, Chinese Bible and Jitish Kallat: Chloé Wolifson,  Sydney    Covers and pages from Go East, Chinese Bible and Jitish Kallat; photos: © and courtesy Bob Newman

10 Connecting threads: Go East, Chinese Bible and Jitish Kallat: Chloé Wolifson, Sydney

Covers and pages from Go East, Chinese Bible and Jitish Kallat; photos: © and courtesy Bob Newman