1 Connective threads: Angela Goddard,  Brisbane    Image: Exterior view of The Walls, Miami, Gold Coast, 2015; image courtesy The Walls; photo: Alan Warren

1 Connective threads: Angela Goddard, Brisbane

Image: Exterior view of The Walls, Miami, Gold Coast, 2015; image courtesy The Walls; photo: Alan Warren

  2 From ‘Cream’ to ‘Coconut Water’: Feeding Queensland regional audiences: Hamish Sawyer,  Caloundra     Vai Niu Wai Niu Coconut Water , exhibition view with installation detail by Eric Bridgeman, Caboolture Regional Art Gallery, 2015; image courtesy Caboolture Regional Art Gallery; photo: Al Sim

2 From ‘Cream’ to ‘Coconut Water’: Feeding Queensland regional audiences: Hamish Sawyer, Caloundra

Vai Niu Wai Niu Coconut Water, exhibition view with installation detail by Eric Bridgeman, Caboolture Regional Art Gallery, 2015; image courtesy Caboolture Regional Art Gallery; photo: Al Sim

  3 Reflections in a muddy puddle: Jenny Watson in conversation: Wes Hill,  Brisbane    Jenny Watson,  Reflection in a muddy puddle , 2013, oil on linen and mixed media, 250 x 141cm, image courtesy the artist and Roslyn Oxley Gallery, Sydney

3 Reflections in a muddy puddle: Jenny Watson in conversation: Wes Hill, Brisbane

Jenny Watson, Reflection in a muddy puddle, 2013, oil on linen and mixed media, 250 x 141cm, image courtesy the artist and Roslyn Oxley Gallery, Sydney

  4 The past comes close: New works: Bruce Reynolds by Virginia Rigney,  Brisbane    Bruce Reynolds,  Vase with Cypress , 2016, lino on board, 168 x 103cm; image courtesy the artist and Jan Manton Art, Brisbane

4 The past comes close: New works: Bruce Reynolds by Virginia Rigney, Brisbane

Bruce Reynolds, Vase with Cypress, 2016, lino on board, 168 x 103cm; image courtesy the artist and Jan Manton Art, Brisbane

  5 DIY, ARI: Brisbane’s artist-run spaces now: Lisa Bryan-Brown,  Brisbane     Weeping Woman  performance, That Space, Brisbane, August 1986; image courtesy the University of Queensland Art Museum, Brisbane; photo: The Shared Camera

5 DIY, ARI: Brisbane’s artist-run spaces now: Lisa Bryan-Brown, Brisbane

Weeping Woman performance, That Space, Brisbane, August 1986; image courtesy the University of Queensland Art Museum, Brisbane; photo: The Shared Camera

  6 andu: A son’s story: Michael Cook,  Sunshine Coast    Michael Cook,  Mother (Bicycle) , 2016, inkjet print on paper, 80 x 120cm, edition of 8; image courtesy the artist and Andrew Baker Art Dealer, Brisbane

6 andu: A son’s story: Michael Cook, Sunshine Coast

Michael Cook, Mother (Bicycle), 2016, inkjet print on paper, 80 x 120cm, edition of 8; image courtesy the artist and Andrew Baker Art Dealer, Brisbane

  7 Sageraw Thonar: Stories from the southeasterly season: Miriam Carter,  Cairns    Laurie Nona,  Malngu Sagrr Gimeiya , 2016, linocut print on paper, 154.3 x 110.5cm (image size); image courtesy the artist and Badu Art Centre; photo: Jon Linkins

7 Sageraw Thonar: Stories from the southeasterly season: Miriam Carter, Cairns

Laurie Nona, Malngu Sagrr Gimeiya, 2016, linocut print on paper, 154.3 x 110.5cm (image size); image courtesy the artist and Badu Art Centre; photo: Jon Linkins

  8 Mirdidingkingathi Juwarnda Sally Gabori: The splendour of colour: Louise Martin-Chew,  Brisbane    Mirdidingkingathi Juwarnda Sally Gabori,  Thundi , 2013, synthetic polymer paint on linen; collection: The Estate of Mirdidingkingathi Juwarnda Sally Gabori; © Mirdidingkingathi Juwarnda Sally Gabori, licensed by Viscopy

8 Mirdidingkingathi Juwarnda Sally Gabori: The splendour of colour: Louise Martin-Chew, Brisbane

Mirdidingkingathi Juwarnda Sally Gabori, Thundi, 2013, synthetic polymer paint on linen; collection: The Estate of Mirdidingkingathi Juwarnda Sally Gabori; © Mirdidingkingathi Juwarnda Sally Gabori, licensed by Viscopy

  9 Whorled worlds and echoes from history: Jitish Kallat in conversation: Gene Sherman,  Sydney    jitish Kallat,  Public Notice , 2003, installation view, 5th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, 2006–07; burnt adhesive on acrylic mirror, wood, stainless steel, 5 part series, 198.1 x 137.2 x 15.2cm each; image courtesy the artist

9 Whorled worlds and echoes from history: Jitish Kallat in conversation: Gene Sherman, Sydney

jitish Kallat, Public Notice, 2003, installation view, 5th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, 2006–07; burnt adhesive on acrylic mirror, wood, stainless steel, 5 part series, 198.1 x 137.2 x 15.2cm each; image courtesy the artist

  10 Confronting the nature of representation: ‘Afterwork’ at Para Site: Chloé Wolifson,  Hong Kong    Santiago Sierra,  La trampa (The Trap) , Matucana 100, Santiago de Chile, 2007, photograph; image courtesy the artist and Para Site, Hong Kong

10 Confronting the nature of representation: ‘Afterwork’ at Para Site: Chloé Wolifson, Hong Kong

Santiago Sierra, La trampa (The Trap), Matucana 100, Santiago de Chile, 2007, photograph; image courtesy the artist and Para Site, Hong Kong

  11 Deep hanging out: Francis Upritchard at MUMA: Amita Kirpalani,  Melbourne    Francis Upritchard:  Jealous Saboteurs , exhibition view, Monash University Museum of Art (MUMA), Melbourne, 2016; image courtesy the artist and MUMA, Melbourne

11 Deep hanging out: Francis Upritchard at MUMA: Amita Kirpalani, Melbourne

Francis Upritchard: Jealous Saboteurs, exhibition view, Monash University Museum of Art (MUMA), Melbourne, 2016; image courtesy the artist and MUMA, Melbourne

  12 Curiouser and curiouser: The 2016 Adelaide Biennial of Australian Art: Stephanie Radok,  Adelaide    Tarryn Gill,  Guardian Figure , 2015, installation view, Samstag Museum of Art, Adelaide, 2016; mixed media including foam, faux fur, LED lights, 46 x 40 x 30cm; photo: Saul Steed

12 Curiouser and curiouser: The 2016 Adelaide Biennial of Australian Art: Stephanie Radok, Adelaide

Tarryn Gill, Guardian Figure, 2015, installation view, Samstag Museum of Art, Adelaide, 2016; mixed media including foam, faux fur, LED lights, 46 x 40 x 30cm; photo: Saul Steed

  13 Illuminating tradition: ‘Shimmer’ at Wollongong: Miranda Samuels,  Wollongong    Lola Greeno,  warrener , 2015, warrener shells, stainless-steel wire, commissioned for ‘Shimmer’; photo: Bernie Fischer

13 Illuminating tradition: ‘Shimmer’ at Wollongong: Miranda Samuels, Wollongong

Lola Greeno, warrener, 2015, warrener shells, stainless-steel wire, commissioned for ‘Shimmer’; photo: Bernie Fischer

  14 Conflicted emotion: Elizabeth Gower’s ‘he loves me, he loves me not’; Amelia Winata,  Melbourne    Elizabeth Gower,  he loves me, he loves me not , 2016, installation images, RMIT Gallery, Melbourne, 2016; photos: Tobias Titz

14 Conflicted emotion: Elizabeth Gower’s ‘he loves me, he loves me not’; Amelia Winata, Melbourne

Elizabeth Gower, he loves me, he loves me not, 2016, installation images, RMIT Gallery, Melbourne, 2016; photos: Tobias Titz

  15 Gordon Darling 1921 – 2015: Angus Trumble,  Canberra    Jiawei Shen,  L. Gordon Darling AC CMG , 2006, oil on canvas, 168.8 x 153cm; National Portrait Gallery, Canberra, purchased with the assistance of the Mundango Charitable Trust and Claudia Hyles 2006

15 Gordon Darling 1921 – 2015: Angus Trumble, Canberra

Jiawei Shen, L. Gordon Darling AC CMG, 2006, oil on canvas, 168.8 x 153cm; National Portrait Gallery, Canberra, purchased with the assistance of the Mundango Charitable Trust and Claudia Hyles 2006