Visual Art

MOTHER at the Ian Potter Centre is the largest exhibition on mothers and motherhood yet shown in Australia – but does it go far enough?

At the 2026 TarraWarra International, artists argue the ‘end of the world’ is a persistent reality for First Nations peoples.

Anselm Kiefer has re-created his tomb-like amphitheatre at estate La Ribaute to house his works in a new wing of Mona.

A velvet ant, a flower and a bird at the Potter Museum of Art asks us to reimagine our worlds, both human and non-human.

Awakening Histories challenges colonial narratives with an exhibition of artworks that explores centuries-old trade relationships with South-East Asia.

A retrospective of Ron Mueck’s hyperreal sculptures reveals the discomfort of voyeurism, while two recent sculptures herald a new phase in the artist’s work.

The Saturday Paper’s visual arts critic looks back at the highlights of 2025.

In the exhibition Presence at Brisbane’s Gallery of Modern Art, Olafur Eliasson charts a continuum between our interior and exterior worlds.

Song of the Earth, the first comprehensive survey of John Nixon’s art practice from the 1960s until his death in 2020, is a testament to his tireless creativity.

The Hidden Line, an exhibition of works by women of the Boyd family, poses a necessary challenge to Australian art history’s masculine legacy.