Two things are glaringly obvious in just the title of Heide’s Summer exhibition O’Keeffe, Preston, Cossington Smith: Making Modernism. The first, of course, is the apparent refusal of the hegemonic history of modernism: that the pivotal period in art history was shaped by a bunch of dudes. The second is that the curators have attempted to render redundant the cultural cringe of the so-called provincialism that Australian art has long been said to suffer from. Georgia O’Keeffe—the “mother” of American modernism—placed on equal playing ground as two not-as-internationally-recognised Australian artists, Margaret Preston and Grace Cossington Smith.