Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Moorina Bonini, Denial, 2018. Video still.

Pierra Van Sparkes, Look Out Below! [Wurundjeri Country], 2018. Photographic print.

Moorina Bonini, The Work of a Primitive Indigenous Australian, 2018. Video still.

Pierra Van Sparkes, Low Key, High Places, 2018. Video still.

Moorina Bonini, Denial, 2018. Video still.

Pierra Van Sparkes, Look Out Below! [Wurundjeri Country], 2018. Photographic print.

Moorina Bonini, The Work of a Primitive Indigenous Australian, 2018. Video still.

Pierra Van Sparkes, Low Key, High Places, 2018. Video still.

Moorina Bonini, Denial, 2018. Video still.

Pierra Van Sparkes, Look Out Below! [Wurundjeri Country], 2018. Photographic print.

Moorina Bonini, The Work of a Primitive Indigenous Australian, 2018. Video still.

Pierra Van Sparkes, Low Key, High Places, 2018. Video still.

Moorina Bonini, Denial, 2018. Video still.

Pierra Van Sparkes, Look Out Below! [Wurundjeri Country], 2018. Photographic print.

Moorina Bonini, The Work of a Primitive Indigenous Australian, 2018. Video still.

Pierra Van Sparkes, Low Key, High Places, 2018. Video still.

Eliza Hutchison, from the series The Difference between the Eternal and Infinite, 2018. This work was commissioned by the Art Gallery of New South Wales for The National 2019: New Australian Art. Courtesy the artist and Murray White Room, Melbourne.

Guy Grabowsky, The Image, 2018. Framed C-type photograph 180 x 250 cm.

Ry Haskings, Knitlock Hoarders Sentinel, 2017. Screen print, acrylic on canvas, gouache and acetate on paper, digital print, video, steel, dimensions variable. Installation view, Gertrude Glasshouse, Melbourne. Image: Matthew Stanton.

Nina Gilbert, Querelle (2), 2018. C-type photographic print, 880 x 550mm.

Eliza Hutchison, from the series The Difference between the Eternal and Infinite, 2018. This work was commissioned by the Art Gallery of New South Wales for The National 2019: New Australian Art. Courtesy the artist and Murray White Room, Melbourne.

Guy Grabowsky, The Image, 2018. Framed C-type photograph 180 x 250 cm.

Ry Haskings, Knitlock Hoarders Sentinel, 2017. Screen print, acrylic on canvas, gouache and acetate on paper, digital print, video, steel, dimensions variable. Installation view, Gertrude Glasshouse, Melbourne. Image: Matthew Stanton.

Nina Gilbert, Querelle (2), 2018. C-type photographic print, 880 x 550mm.

Eliza Hutchison, from the series The Difference between the Eternal and Infinite, 2018. This work was commissioned by the Art Gallery of New South Wales for The National 2019: New Australian Art. Courtesy the artist and Murray White Room, Melbourne.

Guy Grabowsky, The Image, 2018. Framed C-type photograph 180 x 250 cm.

Ry Haskings, Knitlock Hoarders Sentinel, 2017. Screen print, acrylic on canvas, gouache and acetate on paper, digital print, video, steel, dimensions variable. Installation view, Gertrude Glasshouse, Melbourne. Image: Matthew Stanton.

Nina Gilbert, Querelle (2), 2018. C-type photographic print, 880 x 550mm.

Eliza Hutchison, from the series The Difference between the Eternal and Infinite, 2018. This work was commissioned by the Art Gallery of New South Wales for The National 2019: New Australian Art. Courtesy the artist and Murray White Room, Melbourne.

Guy Grabowsky, The Image, 2018. Framed C-type photograph 180 x 250 cm.

Ry Haskings, Knitlock Hoarders Sentinel, 2017. Screen print, acrylic on canvas, gouache and acetate on paper, digital print, video, steel, dimensions variable. Installation view, Gertrude Glasshouse, Melbourne. Image: Matthew Stanton.

Nina Gilbert, Querelle (2), 2018. C-type photographic print, 880 x 550mm.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Dani Sib in front of a mural by Ray Thomas. Photography: Naomi Beveridge

Moorina Bonini and Pierra Van Sparkes, Taking it Blak, 2019. Photography: J Forsyth

Maylene Slater-Burns. Photography: Naomi Lee Beveridge

Moorina Bonini and Pierra Van Sparkes, Taking it Blak, 2019. Photography: J Forsyth

Savanah Krüger

B.B.Q (Beautiful, Blak & Queer), welcome fire, 2018. Co-produced by Dani Sib and Davey Thompson. Image: Moorina Bonini.

Dani Sib in front of a mural by Ray Thomas. Photography: Naomi Beveridge

Moorina Bonini and Pierra Van Sparkes, Taking it Blak, 2019. Photography: J Forsyth

Maylene Slater-Burns. Photography: Naomi Lee Beveridge

Moorina Bonini and Pierra Van Sparkes, Taking it Blak, 2019. Photography: J Forsyth

Savanah Krüger

B.B.Q (Beautiful, Blak & Queer), welcome fire, 2018. Co-produced by Dani Sib and Davey Thompson. Image: Moorina Bonini.

Dani Sib in front of a mural by Ray Thomas. Photography: Naomi Beveridge

Moorina Bonini and Pierra Van Sparkes, Taking it Blak, 2019. Photography: J Forsyth

Maylene Slater-Burns. Photography: Naomi Lee Beveridge

Moorina Bonini and Pierra Van Sparkes, Taking it Blak, 2019. Photography: J Forsyth

Savanah Krüger

B.B.Q (Beautiful, Blak & Queer), welcome fire, 2018. Co-produced by Dani Sib and Davey Thompson. Image: Moorina Bonini.

Dani Sib in front of a mural by Ray Thomas. Photography: Naomi Beveridge

Moorina Bonini and Pierra Van Sparkes, Taking it Blak, 2019. Photography: J Forsyth

Maylene Slater-Burns. Photography: Naomi Lee Beveridge

Moorina Bonini and Pierra Van Sparkes, Taking it Blak, 2019. Photography: J Forsyth

Savanah Krüger

B.B.Q (Beautiful, Blak & Queer), welcome fire, 2018. Co-produced by Dani Sib and Davey Thompson. Image: Moorina Bonini.

Shea Kirk, Mohini Hillyer (left and right view), 2017. Courtesy the artist.

Shea Kirk, Jacob Coppedge (left and right view), 2019. Courtesy the artist.

Shea Kirk, Dale Robertson (left and right view), 2019. Courtesy the artist.

Shea Kirk, Mohini Hillyer (left and right view), 2017. Courtesy the artist.

Shea Kirk, Jacob Coppedge (left and right view), 2019. Courtesy the artist.

Shea Kirk, Dale Robertson (left and right view), 2019. Courtesy the artist.

Shea Kirk, Mohini Hillyer (left and right view), 2017. Courtesy the artist.

Shea Kirk, Jacob Coppedge (left and right view), 2019. Courtesy the artist.

Shea Kirk, Dale Robertson (left and right view), 2019. Courtesy the artist.

Shea Kirk, Mohini Hillyer (left and right view), 2017. Courtesy the artist.

Shea Kirk, Jacob Coppedge (left and right view), 2019. Courtesy the artist.

Shea Kirk, Dale Robertson (left and right view), 2019. Courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Sophie Gabrielle, Worry For The Fruit The Birds Won’t Eat, 2017–19. Image courtesy the artist.

Lyndal Irons, 3 friends from Mermaid Beach club are about to compete in the 21-22 year section at the qualifying heats, hoping to make the Opera House, from the series Physie, 2015. Courtesy the artist.

Michelle Tran, Madison & Shauna, 2019. Courtesy the artist and Hart & Co., Melbourne.

Alan Constable, Not titled, 2018. Earthenware and glaze, 9 x 19 x 8 cm. Image courtesy Arts Project Australia.

Glenn Sloggett, Dead Cat, 2019. C-type print, 101 x 101 cm. Courtesy the artist.

David Wadelton, Pascoe Vale South, 2018. Courtesy the artist.

Lyndal Irons, 3 friends from Mermaid Beach club are about to compete in the 21-22 year section at the qualifying heats, hoping to make the Opera House, from the series Physie, 2015. Courtesy the artist.

Michelle Tran, Madison & Shauna, 2019. Courtesy the artist and Hart & Co., Melbourne.

Alan Constable, Not titled, 2018. Earthenware and glaze, 9 x 19 x 8 cm. Image courtesy Arts Project Australia.

Glenn Sloggett, Dead Cat, 2019. C-type print, 101 x 101 cm. Courtesy the artist.

David Wadelton, Pascoe Vale South, 2018. Courtesy the artist.

Lyndal Irons, 3 friends from Mermaid Beach club are about to compete in the 21-22 year section at the qualifying heats, hoping to make the Opera House, from the series Physie, 2015. Courtesy the artist.

Michelle Tran, Madison & Shauna, 2019. Courtesy the artist and Hart & Co., Melbourne.

Alan Constable, Not titled, 2018. Earthenware and glaze, 9 x 19 x 8 cm. Image courtesy Arts Project Australia.

Glenn Sloggett, Dead Cat, 2019. C-type print, 101 x 101 cm. Courtesy the artist.

David Wadelton, Pascoe Vale South, 2018. Courtesy the artist.

Lyndal Irons, 3 friends from Mermaid Beach club are about to compete in the 21-22 year section at the qualifying heats, hoping to make the Opera House, from the series Physie, 2015. Courtesy the artist.

Michelle Tran, Madison & Shauna, 2019. Courtesy the artist and Hart & Co., Melbourne.

Alan Constable, Not titled, 2018. Earthenware and glaze, 9 x 19 x 8 cm. Image courtesy Arts Project Australia.

Glenn Sloggett, Dead Cat, 2019. C-type print, 101 x 101 cm. Courtesy the artist.

David Wadelton, Pascoe Vale South, 2018. Courtesy the artist.

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Thea Jones, Jane's Salvation (Paterson's Curse), 2019. Hand embroidery on cotton voile, dimensions variable. Photo: Louis Lim

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Ella Sowinska, 80 Ways, 2018. Film still. Courtesy the artist.

Glenn Sloggett, process image, author unknown.

Glenn Sloggett, process image, author unknown.

Glenn Sloggett, process image, author unknown.

Glenn Sloggett, process image, author unknown.

Glenn Sloggett, process image, author unknown.

Glenn Sloggett, process image, author unknown.

Glenn Sloggett, process image, author unknown.

Glenn Sloggett, process image, author unknown.