• Editorial
  • (Un)tangling the threads that bind them: Judy Watson and Helen Johnson Oscar Capezio, Kamberri/Canberra and Naarm/Melbourne
  • Their own private evening: Hilarie Mais’s ‘Night Simile’ George Egerton-Warburton, New York City
  • Barbara Hepworth: Emotion, recollected in tranquillity Patrick Hutchings, Naarm/Melbourne
  • That invisible element: ‘Air’ at QAGOMA Rebecca Blake, Meanjin/Brisbane
  • You and Me: A collective beauty Steven Lindsay Ross
  • Firsts and seconds: On Nan Goldin and Matthew Sleeth Daniel Mudie Cunningham
  • Bowerbirding: Karla Dickens at Campbelltown Fiona Kelly McGregor, Warrang/Sydney
  • Embarrassment of riches: ‘Cultural Commons’ at the University of Melbourne Giles Fielke

Les Blakebrough


Anne Brennan

Virginia Spate


Julie Ewington

Angus Trumble


Sarah Thomas

Elevating art writing and contesting paradigms:

The 2022 AWAPAs

Approp … : A manner proper to the circumstances

Moya Costello

  • Body of work: Peter Maloney’s Fugitive Text Ruth Waller
  • Halcyon days at Emu Plains: Margo Lewers: No Limits Andrew Andersons


Matthew Sleeth, The First Cut Is the Deepest [Part 2], 2021, still from durational performance, KRONENBERG MAIS WRIGHT, Warrang/Sydney, 2021; courtesy the artist and KRONENBERG MAIS WRIGHT