Portraiture is in at the moment. Undoubtedly, the most decisive curatorial gesture of the past several years has been the opening wall of women’s portraits and self-portraits that greeted visitors to the recent National Gallery of Australia Know My Name show. Entitled ‘Lineage’, it was a rotating three-part hang over the course of the exhibition, each time showing some sixty works in total, with for example Julie Dowling’s Mary (2001) next to Stella Bowen’s Mary Widney (1927), Ola Cohn’s Peace (1940) next to Fiona Foley’s Badtjala Woman (1994), and Vida Lahey’s Monday Morning (1912) above a shelf of shell necklaces by Dulcie and Lola Greeno (1995–8).