April 2020 Issue 323

1 dispatches: andrew stephensAnthea da Silva, Elizabeth, 2019, charcoal and oil on canvas; courtesy the artist and the National Portrait Gallery, Canberra — **1 dispatches: andrew stephens**
Anthea da Silva, *Elizabeth,* 2019, charcoal and oil on canvas; courtesy the artist and the National Portrait Gallery, Canberra

2 NOTES FROM THE FIELD: CHLOÉ WOLIFSONLinda Puna, Ngayuku Ngura (My Home), 2020, acrylic on linen, 152 x 152cm; courtesy the artist and Mimili Maku Arts — **2 NOTES FROM THE FIELD: CHLOÉ WOLIFSON**
Linda Puna, *Ngayuku Ngura (My Home)*, 2020, acrylic on linen, 152 x 152cm; courtesy the artist and Mimili Maku Arts

3 ebb and flow: ‘water’ at qagoma: rebecca blake, brisbaneOlafur Eliasson, Riverbed, 2014, installation detail, Queensland Art Gallery / Gallery of Modern Art (QAGOMA), Brisbane, 2019–20; courtesy the artist; neugerriemschneider, Berlin; Tanya Bonak… — 3 ebb and flow: ‘water’ at qagoma: rebecca blake, *brisbane*
Olafur Eliasson, *Riverbed*, 2014, installation detail, Queensland Art Gallery / Gallery of Modern Art (QAGOMA), Brisbane, 2019–20; courtesy the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York and Los Angeles; photo: Natasha Harth, QAGOMA

4 gods and monsters: ‘japan supernatural’ at agnsw: emily wakeling, sydneyJapan supernatural, exhibition installation view, Art Gallery of New South Wales (AGNSW), Sydney, 2019–20; artworks © the artists; photo: Jenni Carter, AGNSW — 4 gods and monsters: ‘japan supernatural’ at agnsw: emily wakeling, *sydney*
*Japan supernatural*, exhibition installation view, Art Gallery of New South Wales (AGNSW), Sydney, 2019–20; artworks © the artists; photo: Jenni Carter, AGNSW

5 ex de medici: belling the cat: sophia halloway, canberra eX de Medici, The Law (Ops), 2013–14, watercolour on paper, 114 x 161.5cm; Shepparton Art Museum; image courtesy the artist and Sullivan+Strumpf, Sydney and Singapore — 5 ex de medici: belling the cat: sophia halloway, *canberra*

eX de Medici, *The Law (Ops)*, 2013–14, watercolour on paper, 114 x 161.5cm; Shepparton Art Museum; image courtesy the artist and Sullivan+Strumpf, Sydney and Singapore

6 philip noakes’s expanded universe of objects: ted snell, perthPhilip Noakes, Stratum I, 2020, Britannia silver, fine gold, 18.7 x 21.5 x 15.5cm; courtesy the artist and Australian Galleries, Sydney; photo: Robert Frith — 6 philip noakes’s expanded universe of objects: ted snell, *perth*
Philip Noakes, *Stratum I*, 2020, Britannia silver, fine gold, 18.7 x 21.5 x 15.5cm; courtesy the artist and Australian Galleries, Sydney; photo: Robert Frith

7 ‘that distant galaxy’: haring and basquiat in the 1980s: michael fitzgerald, melbourneKeith Haring / Jean-Michel Basquiat: Crossing Lines, exhibition installation view, NGV International, Melbourne, 2019–20; © Estate of Jean-Michel Basquiat, licen… — 7 ‘that distant galaxy’: haring and basquiat in the 1980s: michael fitzgerald, *melbourne*
*Keith Haring / Jean-Michel Basquiat: Crossing Lines*, exhibition installation view, NGV International, Melbourne, 2019–20; © Estate of Jean-Michel Basquiat, licensed by Artestar, New York; © Keith Haring Foundation; photo: Tom Ross

8 simon denny: remote control: oscar capezio, hobartSimon Denny, Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage, 2019, installation view, ‘Mine’, Museum of Old and New Art (MONA), Hobart, 2019–20; photo: Jesse Hunnifor… — 8 simon denny: remote control: oscar capezio, *hobart*
Simon Denny, *Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage*, 2019, installation view, ‘Mine’, Museum of Old and New Art (MONA), Hobart, 2019–20; photo: Jesse Hunniford, MONA

9 a new streeton attribution: the grand canal (1908): sarah schmidtArthur Streeton, The Grand Canal, 1908, oil on canvas, 93 x 169cm (36.61 x 66.54in); private collection; photo: Glen Watson — **9 a new streeton attribution: *the grand canal* (1908): sarah schmidt**
Arthur Streeton, *The Grand Canal*, 1908, oil on canvas, 93 x 169cm (36.61 x 66.54in); private collection; photo: Glen Watson

10 very good at looking: james mollison, founding director of the national gallery: daniel thomasjames mollison ao and robert hughes ao with jackson pollock’s blue poles (1952); © Pollock-Krasner Foundation, art/copyright agency — **10 very good at looking: james mollison, founding director of the national gallery: daniel thomas**
james mollison ao and robert hughes ao with jackson pollock’s *blue poles* (1952); © Pollock-Krasner Foundation, art/copyright agency

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