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^{Lenton Parr, Vega, 1969, posthumously enlarged and fabricated 2012, painted steel.}

Point Leo Estate sculpture park, 3649 Frankston-Flinders Road, Merricks, VIC

That the Mornington Peninsula now boasts three privately endowed sculpture parks is a remarkable fact given the relatively small geographic area. Joining the long-standing McClelland Gallery + Sculpture Park (founded and chiefly supported – up until recently – by the late Dame Elisabeth Murdoch) are two new additions, both attac...

^{Lucina Lane and Nigel Lendon, Teach the kids to strike. Photo: Christo Crocker}

Lucina Lane and Nigel Lendon – Teach the kids to strike, Neon Parc, 18 May – 16 June

I’ve not noticed the terazzo tiles on the floor of Neon Parc’s city gallery. And I’ve been visiting shows at the Bourke Street space for years now. It took Lucina Lane and Nigel Lendon’s collaborative exhibition Teach the kids to strike for me to look hard at just how extraordinarily worn the floors really are. When I ask ga...

^{Raquel Ormella, This Dream, 2013, nylon, 150 x 210 cm. Art Gallery of New South Wales, Sydney. Purchased: Rudy Komon Memorial Fund, 2013.}

Raquel Ormella, I Hope You Get This, Shepparton Art Museum, 26 May–12 August, 2018

Raquel Ormella’s artworks have been included in a number of thematic exhibitions exploring the relationships between art and activism in recent years; examples include Direct Democracy, at MUMA in 2013 and See You at the Barricades, at AGNSW in 2015. These exhibitio...

^{Installation view, Diane Arbus: American Portraits, Heide Museum of Modern Art, photograph: Christian Capurro}

Diane Arbus: American Portraits, Heide Museum of Art, 21 March – 17 June 2018.

“You can’t take any photos”, I was told at the front desk. The request was unexpected, as restrictions of this kind for an exhibition seemed slightly dated considering how accessible and abundant images have become in our digitally soaked, super-sharing culture – not to mention how widely availab...

^{David Aspden, Field 1, 1968, synthetic polymer paint on canvas. 245.0 x 152.5 cm. Private collection, Brisbane © David Aspen.}

The Field Revisited, Ian Potter Centre, National Gallery of Victoria, 27 April – 26 August.

There are perhaps three art-viewing experiences I have had that I would say changed the way I looked at and thought about art. The first was when as an undergraduate I wandered without any warning into the Colin McCahon retrospective held at the University of Sydney as par...

^{Saskia Leek, Rot, 2004, oil on cardboard. Courtesy the artist and Ivan Anthony, Auckland. Photo: André Piguet.}

Hard Feelings, The Honeymoon Suite, Lv1, 60 Sydney Rd, Brunswick, 4 May – 2 June 2018.

When The Honeymoon Suite opened in 2016, it was with Rose Coloured Glass, an exhibition of work by four artist couples that flirtatiously invited viewers to guess who was dating whom. Rose Coloured Glass wondered: can romance blossom from a shared passion for abstraction? Or vice versa? T...

^{Abstraction 17: A Field of Interest, c. 1968, Charles Nodrum Gallery, 2018. Image Credit: Gavin Hansford.}

Charles Nodrum Gallery, Abstraction 17: A Field of Interest, c. 1968, 26 April - 19 May, 2018.

What is the art museum for? What is its distinctive function? Is it, as the traditional humanist explanation holds, to preserve the treasures of humanity embodied in art works, collective treasures to which the public has the right of access as a source of ‘ennobling enjoyment’ (as a Par...

^{Kieren Seymour, Blue Blindness, 2018. Image courtesy the artist and Block Projects.}

Blue Blindness, Kieren Seymour, Block Projects, April 24 – May 19 2018

In Kieren Seymour’s previous shows the focus was primarily on human and human-like figures—sometimes friendly and cartoonish, sometimes reminiscent of Hans Bellmer’s violently fragmented dolls. In Blue Blindness these figures re-appear, but Seymour turns away from their personalities to explore questions about the nature of perception...