Gail Hastings

Solo Exhibitions (Click exhibition title to open)

26/04/2014 Missing: four sculptuations by Gail Hastings, iBooks, 51 Countries
11/04/2014 Exhibition: To Do, The Commercial, Sydney
19/09/2013 Sydney Contemporary 13, The Commercial, Sydney
20/09/2012 [space holder], Gail Hastings Exhibition Studio, Sydney
22/10/2011 Space you can’t sit on: The space in Today, Gail Hastings Exhibition Studio, Sydney
03/06/2011 Encounter: Stephen Sinn, Gail Hastings Exhibition Studio, Sydney
23/02/2010 Leave the line standing, St Canice's Annex, Sydney
07/02/2008 Sculptural Situations: Gail Hastings, Perth Institute of Contemporary Art (cur. Melissa Keys), Perth
19/03/2007 Overheard Conversation: Sculptural Situations by Gail Hastings, Art Gallery of New South Wales (cur. Natasha Bullock, Wayne Tunnicliffe, Tony Bond), Sydney
07/11/2003 But is it art?, The Cross Art Projects, Sydney
25/01/2003 plans, Heidi Museum of Modern Art (cur. Zara Stanhope), Melbourne
25/03/2001 Gail Hastings: multiples, books, prints, editions, etc., Pestorius Sweeney House, Brisbane
16/03/2001 mission: untitled (blue), Australian Centre for Contemporary Art (cur. Stuart Koop), Melbourne
07/07/2000 Gail Hastings: Sculptural Situation 1989–2000, Goddard de Fiddes (cur. David Pistorius), Perth
11/09/1999 Sorry, we are closed, UQ Art Museum, Brisbane
12/06/1999 I views, Canberra Contemporary Art Space, Canberra
30/04/1999 apparently not, David Pestorius Gallery, Berlin
05/03/1999 art idea no. 8,582,048, Künstlerhaus Bethanien, Berlin
06/12/1998 art idea no. 8,582,048, Bahnwärterhaus (cur. Renate Wiehager), Esslingen
12/03/1998 art opinion no. 636, David Pestorius Gallery, Brisbane
06/03/1998 Untitled discussions, Anthony Meier Fine Arts, San Francisco
24/09/1997 To complete a work of contemporary art, Ausstellungsraum Thomas Taubert, Düsseldorf
02/08/1997 forgotten encyclopaedias, 24 Church Street, Fortitude Valley, Brisbane
11/06/1997 Statements Art 28‘97 Basel, David Pestorius Gallery, Basel
07/06/1997 two and three stares, Galerie Mark Müller, Zurich
23/05/1997 two corners and a cube, Galerie Köstring/Maier, München
24/04/1997 Duality: a series of weekly exhibitions during April 1997, David Pestorius Gallery, Brisbane
04/04/1997 four coincidences, Anna Schwartz Gallery, Melbourne
30/11/1996 To make a work of timeless art, David Pestorius Gallery, Brisbane
03/10/1996 To make a work of timeless art, Experimental Art Foundation, Adelaide
09/05/1996 Art 1996 Chicago, David Pestorius Gallery, Chicago
20/04/1996 out of time: part two, David Pestorius Gallery, Brisbane
07/03/1996 To make a work of timeless art, Artspace, Sydney
14/10/1995 To make a work of thoughtful art, Ausstellungsraum Thomas Taubert, Düsseldorf
10/02/1995 rule c: Remember, the aesthetic outcome of this exercise is purely due to chance and circumstance. It bears no reflection on you, personally., David Pestorius Gallery, Brisbane
01/09/1994 Drawn Lines, Institute of Modern Art, Brisbane
27/08/1994 Room 32, Room 32 (cur. Matthew Johnson), Sydney
04/05/1994 well actually, Anna Schwartz Gallery, Melbourne
05/08/1993 A Sculpture by Gail Hastings: a page torn from a secret, Australian Centre for Contemporary Art, Melbourne
01/07/1993 spatial probabilities 1993: Watercolours by Gail Hastings, Anna Schwartz Gallery, Melbourne
11/12/1991 Gail Hastings & Elizabeth Newman, Roslyn Oxley9 Gallery (cur. Elizabeth Newman), Sydney
27/04/1991 No, just an empty square, Store 5, Melbourne
06/04/1991 Some examples of different ways, Store 5, Melbourne
14/11/1990 Floor Plan: Empty, except, Gertrude Contemporary, Melbourne
20/09/1990 4th Australian Sculpture Triennial Forum, Melbourne Lower Town Hall (cur. Brenda Ludeman and Kevin Murray), Melbourne
21/04/1990 Room for Love, Store 5 (cur. Gary Wilson), Melbourne
30/11/1989 This Performance — A Passing Thought, Gertrude Contemporary, Melbourne
14/07/1989 Gail Hastings Installation 1989 / Fergus Armstrong Photograph 1989, Store 5, Melbourne

Solo Exhibitions (Click exhibition title to open)

26/04/2014 Missing: four sculptuations by Gail Hastings, iBooks, 51 Countries
11/04/2014 Exhibition: To Do, The Commercial, Sydney
19/09/2013 Sydney Contemporary 13, The Commercial, Sydney
20/09/2012 [space holder], Gail Hastings Exhibition Studio, Sydney
22/10/2011 Space you can’t sit on: The space in Today, Gail Hastings Exhibition Studio, Sydney
03/06/2011 Encounter: Stephen Sinn, Gail Hastings Exhibition Studio, Sydney
23/02/2010 Leave the line standing, St Canice's Annex, Sydney
07/02/2008 Sculptural Situations: Gail Hastings, Perth Institute of Contemporary Art (cur. Melissa Keys), Perth
19/03/2007 Overheard Conversation: Sculptural Situations by Gail Hastings, Art Gallery of New South Wales (cur. Natasha Bullock, Wayne Tunnicliffe, Tony Bond), Sydney
07/11/2003 But is it art?, The Cross Art Projects, Sydney
25/01/2003 plans, Heidi Museum of Modern Art (cur. Zara Stanhope), Melbourne
25/03/2001 Gail Hastings: multiples, books, prints, editions, etc., Pestorius Sweeney House, Brisbane
16/03/2001 mission: untitled (blue), Australian Centre for Contemporary Art (cur. Stuart Koop), Melbourne
07/07/2000 Gail Hastings: Sculptural Situation 1989–2000, Goddard de Fiddes (cur. David Pistorius), Perth
11/09/1999 Sorry, we are closed, UQ Art Museum, Brisbane
12/06/1999 I views, Canberra Contemporary Art Space, Canberra
30/04/1999 apparently not, David Pestorius Gallery, Berlin
05/03/1999 art idea no. 8,582,048, Künstlerhaus Bethanien, Berlin
06/12/1998 art idea no. 8,582,048, Bahnwärterhaus (cur. Renate Wiehager), Esslingen
12/03/1998 art opinion no. 636, David Pestorius Gallery, Brisbane
06/03/1998 Untitled discussions, Anthony Meier Fine Arts, San Francisco
24/09/1997 To complete a work of contemporary art, Ausstellungsraum Thomas Taubert, Düsseldorf
02/08/1997 forgotten encyclopaedias, 24 Church Street, Fortitude Valley, Brisbane
11/06/1997 Statements Art 28‘97 Basel, David Pestorius Gallery, Basel
07/06/1997 two and three stares, Galerie Mark Müller, Zurich
23/05/1997 two corners and a cube, Galerie Köstring/Maier, München
24/04/1997 Duality: a series of weekly exhibitions during April 1997, David Pestorius Gallery, Brisbane
04/04/1997 four coincidences, Anna Schwartz Gallery, Melbourne
30/11/1996 To make a work of timeless art, David Pestorius Gallery, Brisbane
03/10/1996 To make a work of timeless art, Experimental Art Foundation, Adelaide
09/05/1996 Art 1996 Chicago, David Pestorius Gallery, Chicago
20/04/1996 out of time: part two, David Pestorius Gallery, Brisbane
07/03/1996 To make a work of timeless art, Artspace, Sydney
14/10/1995 To make a work of thoughtful art, Ausstellungsraum Thomas Taubert, Düsseldorf
10/02/1995 rule c: Remember, the aesthetic outcome of this exercise is purely due to chance and circumstance. It bears no reflection on you, personally., David Pestorius Gallery, Brisbane
01/09/1994 Drawn Lines, Institute of Modern Art, Brisbane
27/08/1994 Room 32, Room 32 (cur. Matthew Johnson), Sydney
04/05/1994 well actually, Anna Schwartz Gallery, Melbourne
05/08/1993 A Sculpture by Gail Hastings: a page torn from a secret, Australian Centre for Contemporary Art, Melbourne
01/07/1993 spatial probabilities 1993: Watercolours by Gail Hastings, Anna Schwartz Gallery, Melbourne
11/12/1991 Gail Hastings & Elizabeth Newman, Roslyn Oxley9 Gallery (cur. Elizabeth Newman), Sydney
27/04/1991 No, just an empty square, Store 5, Melbourne
06/04/1991 Some examples of different ways, Store 5, Melbourne
14/11/1990 Floor Plan: Empty, except, Gertrude Contemporary, Melbourne
20/09/1990 4th Australian Sculpture Triennial Forum, Melbourne Lower Town Hall (cur. Brenda Ludeman and Kevin Murray), Melbourne
21/04/1990 Room for Love, Store 5 (cur. Gary Wilson), Melbourne
30/11/1989 This Performance — A Passing Thought, Gertrude Contemporary, Melbourne
14/07/1989 Gail Hastings Installation 1989 / Fergus Armstrong Photograph 1989, Store 5, Melbourne

Group Exhibitions (Click exhibition title to open)

15/06/2017 9×5, Margaret Lawrence Gallery (cur. Elizabeth Gower), Melbourne
17/01/2015 A Few Pieces, Taubert Contemporary, Berlin
18/12/2014 Taking it all away: MCA collection, Museum of Contemporary Art (cur. Natasha Bullock), Sydney
13/08/2014 Melbourne Art Fair, The Commercial, Melbourne
13/03/2014 20/200, Sarah Cottier Gallery, Sydney
24/01/2014 OUI we, The Commercial, Sydney
26/07/2013 JANIS II, The Commercial (cur. Kelly Doley and Amanda Rowell), Sydney
26/04/2013 Direct Democracy, Monash University Museum of Art (cur. Geraldine Barlow), Melbourne
11/10/2012 Notes towards contemporary post-minimalism [withdrawal], Heidi Museum of Modern Art,
03/08/2012 Less is More: Minimal and Post-Minimal Art in Australia [withdrawal], Heidi Museum of Modern Art (cur. Sue Cramer), Melbourne
29/10/2010 Minimalism And Applied II: Dialogues of contemporary art with aspects of 20th century design and architecture, Daimler Contemporary (cur. Renate Wiehager), Berlin
16/06/2010 Taint, FirstDraft Gallery (cur. Clare Lewis), Sydney
15/05/2009 Art from a Hundred Years 1909–2009: Highlights of the Daimler Art Collection, Museum und Galerie im Prediger (cur. Renate Wiehager), Schwäbisch Gmünd
10/04/2009 Faith and Lust: Various Approaches to Formalist Abstraction, Flinders Street Gallery (cur. Alex Lawler), Sydney
12/11/2008 To make a work of timeless art: MCA Primavera Acquisitions, Museum of Contemporary Art (cur. Isabel Hesketh and Clare Lewis), Sydney
22/05/2005 Pitch Your Own Tent: Art Projects / Store 5 / 1st Floor, Monash University Museum of Art (cur. Max Delany), Melbourne
19/03/2005 Store 5 is … ?, Anna Schwartz Gallery (cur. Deborah Hennessy), Melbourne
03/09/2003 Private/Corporate II, Daimler Contemporary (cur. Renate Wiehager), Berlin
06/06/2003 Hothouse: The flower in contemporary art, Monash University Museum of Art (cur. Zara Stanhope), Melbourne
14/05/2003 The Daimler Art Collection at the Museum für Neue Kunst | ZKM Karlsruhe, Museum für Neue Kunst | ZKM Karlsruhe (cur. Renate Wiehager), Karlsruhe
04/04/2003 In Conversation, UQ Art Museum (cur. David Pestorius), Brisbane
18/08/2002 Kunst Nach Kunst / Art After Art, Neues Museum Weserburg Bremen (cur. Peter Friese), Bremen
27/10/2001 October 2001 / Geometrical Affairs, Daimler Contemporary (cur. Renate Wiehager), Berlin
07/12/2000 Monochromes, UQ Art Museum (cur. David Pestorius), Brisbane
19/08/2000 Close Quarters: Contemporary Art from Australia and New Zealand, Dunedin Public Art Gallery (cur. C. Barton, Z. Stanhope, C. Williamson), Dunedin
08/02/2000 Passing Time: Moët & Chandon Exhibition 2000, Art Gallery of New South Wales (cur. Victoria Lynn), Sydney
18/12/1999 Close Quarters: Contemporary Art from Australia and New Zealand, Auckland Art Gallery Toi o Tāmaki (cur. C. Barton, Z. Stanhope, C. Williamson), Aukland
16/09/1999 Close Quarters: Contemporary Art from Australia and New Zealand, Govett-Brewster Art Gallery (cur. C. Barton, Z. Stanhope, C. Williamson), New Plymouth
10/09/1999 Open House, Pestorius Sweeney House (cur. Ben Curnow), Brisbane
08/09/1999 Space Affects: the art and architecture of James Birrell and Gail Hastings, Metro Arts (cur. David Pestorius), Brisbane
15/08/1999 The Space Here Is Everywhere: Art with Architecture, Villa Merkel/Bahwärterhaus (cur. Renate Wiehager), Esslingen
02/07/1999 Close Quarters: Contemporary Art from Australia and New Zealand, ANU School of Art Gallery (cur. C. Barton, Z. Stanhope, C. Williamson), Canberra
21/04/1999 projections, David Pestorius Gallery, Berlin
04/03/1999 Close Quarters: Contemporary Art from Australia and New Zealand, Institute of Modern Art (cur. C. Barton, Z. Stanhope, C. Williamson), Brisbane
08/10/1998 Close Quarters: Contemporary Art from Australia and New Zealand, Australian Centre for Contemporary Art (cur. Christina Barton, Zara Stanhope, Clare Williamson), Melbourne
03/10/1998 Strolling – the art of arcades, boulevards, barricades, publicity, Heidi Museum of Modern Art (cur. Max Delany), Melbourne
02/10/1998 Ladies & Gentlemen, Someone else's studio (cur. David Pestorius), Brisbane
29/09/1998 The Infinite Space: Women, Minimalism and the Sculptural Object, The Ian Potter Museum of Art (cur. Rachel Kent), Melbourne
23/09/1998 Moët &​ Chandon Australian Art Foundation Touring Exhibition 1998, Queensland Art Gallery (cur. Frances Lindsay and Brian McKay), Brisbane
29/07/1998 Moët &​ Chandon Australian Art Foundation Touring Exhibition 1998, Art Gallery of New South Wales (cur. Frances Lindsay and Brian McKay), Sydney
30/04/1998 Moët &​ Chandon Australian Art Foundation Touring Exhibition 1998, National Gallery of Victoria (cur. Frances Lindsay and Brian McKay), Melbourne
17/03/1998 Moët &​ Chandon Australian Art Foundation Touring Exhibition 1998, National Gallery of Australia (cur. Frances Lindsay and Brian McKay), Canberra
05/03/1998 All This And Heaven Too: 1998 Adelaide Biennial of Australian Art, Art Gallery of South Australia (cur. Juliana Engberg & Ewen McDonald), Adelaide
01/09/1997 Art Forum Berlin 1997, David Pestorius Gallery, Berlin
30/05/1997 On Dialogue, Haus am Waldsee (cur. Anne Marie Freybourg), Berlin
08/05/1997 Art 1997 Chicago, David Pestorius Gallery, Chicago
07/03/1997 Wall as Medium?, David Pestorius Gallery, Brisbane
22/09/1996 The Pool, Centenary Pools (cur. David Pestorius), Brisbane
18/09/1996 Moët &​ Chandon Australian Art Foundation Touring Exhibition 1996, Art Gallery of New South Wales (cur. Terry Smith, Pat Hoffie & John McPhee), Sydney
24/08/1996 Reservoir, Lake Macquarie City Art Gallery (cur. Ewen McDonald), Lake Macquarie
24/05/1996 Moët &​ Chandon Australian Art Foundation Touring Exhibition 1996, Art Gallery of South Australia (cur. Terry Smith, Pat Hoffie & John McPhee), Adelaide
17/04/1996 Moët &​ Chandon Australian Art Foundation Touring Exhibition 1996, National Gallery of Victoria (cur. Terry Smith, Pat Hoffie & John McPhee), Brisbane
20/03/1996 Road to Love, Sarah Cottier Gallery (cur. Mikala Dwyer), Sydney
14/02/1996 Moët &​ Chandon Australian Art Foundation Touring Exhibition 1996, National Gallery of Victoria (cur. Terry Smith, Pat Hoffie & John McPhee), Melbourne
05/12/1995 Lovers, Heidi Museum of Modern Art (cur. Juliana Engberg), Melbourne
12/05/1995 please nota bene the other rules on the following page, David Pestorius Gallery (cur. Gail Hastings), Brisbane
16/02/1995 In the Company of Women: 100 Years of Australian Women’s Art from the Cruthers Collection, Perth Institute of Contemporary Art (cur. John Cruthers), Perth
25/03/1993 Temporal, Anna Schwartz Gallery (cur. Shelley Lasica), Melbourne
05/12/1992 Above the Lake – Below the Sky, Benalla Art Gallery (cur. Victor Meertons), Benalla
15/10/1992 The Angelic Space: A Celebration of Piero Della Francesca, Monash University Museum of Art (cur. Harriet Edquist and Juliana Engberg), Melbourne
15/10/1992 Octopus, University of South Australia (cur. Gary Wilson), Adelaide
02/09/1992 Primavera: The Belinda Jackson Exhibition of Young Artists, Museum of Contemporary Art (cur. Linda Michael), Sydney
30/07/1992 work by Gail Hastings, Mathew Jones, Anne McDonald, Scott Redford, Black (cur. Mikala Dwyer), Sydney
10/06/1992 Chairs, Store 5 (cur. Melinda Harper and Gary Wilson), Melbourne
07/08/1991 Australian Perspecta 1991, Art Gallery of New South Wales (cur. Victoria Lynn), Sydney
01/08/1991 Production, Institute of Modern Art (cur. Bronwyn Clark-Coolee), Brisbane
27/03/1991 Melinda Harper, Gail Hastings, Gary Wilson, Constanze Zikos, FirstDraft Gallery (cur. Melinda Harper), Sydney
29/11/1990 Loaded, 13 Verity Street (cur. Ashley Crawford and Max Delany), Melbourne
13/10/1990 Drawings, Store 5 (cur. Melinda Harper), Melbourne
09/10/1990 Dis-location, RMIT Gallery (cur. Robert Owen), Melbourne
01/03/1990 Exultate Jubilate, Store 5 (cur. Angela Brennan and Elizabeth Newman upon invitation from Gail Hastings), Melbourne
16/12/1989 Other Photography #2, Store 5 (cur. Gary Wilson), Melbourne
01/12/1989 S.W.I.M. Fund Raiser, Linden Centre for Contemporary Arts (cur. Kathy Temin), Melbourne
11/11/1989 A3 20, Store 5 (cur. Gary Wilson), Melbourne
12/08/1989 Suzannah Barta, Sandra Bridie, Lyndell Brown, Gail Hastings, Store 5 (cur. Gail Hastings), Melbourne

Books

Richard Shiff, ‘Foreword’, Missing: Four Sculptuations by Gail Hasting, Pigment Publisher, Sydney 2014, pp.v-vi.
Amanda Rowell, ‘Afterword’, Missing: Four Sculptuations by Gail Hasting, Pigment Publisher, Sydney 2014, pp.xiv-xivi.
David Raskin, ‘Introduction’, The Missing Space Project: Six interviews, Pigment Publisher, Sydney 2015, pp.8–12.

Curatorial

Peter Anderson, Maryanne Lynch, Two times two is …’, RealtTime, issue 25, June–July 1998, p.44.
Victoria Hynes, Spring Loaded’, The Sydney Morning Herald, 14–20 Sept 2001, p.26.
Anne Loxley, Blind spots that make the mind work’, The Sydney Morning Herald, Wednesday 12 September 2001, p.15.
Virginia Trioli, Student Council closes George Paton Gallery’, The Age, Saturday 3 Nov 1990, p.13.
Sharon Verghis, Modern art you can understand, even if that bloke is off his trolley’, The Sydney Morning Herald, Monday 3 Sep 2001, p.5.

Exhibition Catalogues

George Alexander, Primed Suspects: Gail Hastings’ Sculptural Situations’, But is it Art?: Sculptural Situations by Gail Hastings, exhibition catalogue, The Cross Art Projects, Sydney 2003.
Geraldine Barlow, Direct Democracy, in Geraldine Barlow (ed.), exhibition catalogue, Monash University Museum of Art, Melbourne 2013, pp.50–3, 98–9, 101, 106.
Carolyn Barnes, ‘Dis-location’, in Robert Owen (ed.), Dis-location, exhibition catalogue, Royal Melbourne Institute of Technology, Melbourne 1990, p.6.
Carolyn Barnes, ‘The Identity of Art’, in Gary Wilson (ed.), Octopus, exhibition catalogue, University of South Australia, Adelaide 1992.
Christina Barton, Zara Stanhope, Clare Williamson, ‘Speaking of Strange Bedfellows’, Close Quarters: Contemporary Art from Australia and New Zealand, exhibition catalogue, Monash University Museum of Art and Australian Centre for Contemporary Art, Melbourne 1998, pp.8, 24.
James Birrell, ‘Abstract Distractions’, in David Pestorius (ed.), Space Affects: The art and architecture of James Birrell and Gail Hastings, exhibition catalogue, Metro Arts, Brisbane 1999, pp.23–5.
Anna Clabburn, ‘Who is art for?’, in Maudie Palmer (ed.), Moët & Chandon Touring Exhibition, exhibition catalogue, Moët & Chandon Australian Art Foundation, Melbourne 1996, pp.7, 13, 18, 21.
Sue Cramer, ‘Notes on Contemporary Post-Minimalism (part III): The Viewer’, in Sue Cramer (ed.), Less is More: Minimal and Post-Minimal Art in Australia, exhibition catalogue, Heidi Museum of Modern Art, Melbourne 2012, pp.67–9.
Sue Cramer, MCA Collection: 1994 Selection, exhibition catalogue, Museum of Contemporary Art, Sydney 1994.
Ashley Crawford, Max Delany, Loaded, exhibition catalogue, 13 Verity Street, Melbourne 1990.
John Cruthers, ‘Undone by Art’, In the Company of Women: 100 Years of Australian Women's Art from the Cruthers Collection, exhibition catalogue, Perth Institute of Contemporary Art, Perth 1995, p.21.
Ben Curnow, ‘objects + ideas: revisiting minimalism’, MCA Collection: 1997 Selection, exhibition catalogue, Museum of Contemporary Art, Sydney 1997.
Max Delany, Strolling - the art of arcades, boulevards, barricades, publicity, in Max Delany (ed.), exhibition catalogue, Heidi Museum of Modern Art, Melbourne 1998, p.27.
Juliana Engberg, ‘The Angelic Space: Working in the way of Metaphors and Enigmas’, in Harriet Edquist and Juliana Engberg (ed.), The Angelic Space: A Celebration of Piero Della Francesca, exhibition catalogue, Monash University Museum of Art, Melbourne 1992, p.50.
Juliana Engberg, ‘Love Tokens’, Lovers, exhibition catalogue, Heidi Museum of Modern Art, Melbourne 1995.
Isabel Finch, Clare Lewis, ‘Gail Hastings’, To make a work of timeless art: MCA Primavera Acquisitions, exhibition catalogue, Museum of Contemporary Art, Sydney 2008.
Anne Marie Freybourg, On Dialogue, exhibition catalogue, Haus am Waldsee / Jovis, Berlin 1997.
Uwe Goldenstein, ‘Gail Hastings’, in Peter Friese (ed.), Kunst Nach Kunst, exhibition catalogue, Neues Museum Weserburg Bremen, Bremen 2002, pp.120–3.
Gail Hastings, ‘Store 5 is …, Store 5 was … or, rather, Store 5 was not … easy – let’s face it’, Store 5 is ..., exhibition catalogue, Anna Schwartz Gallery, Melbourne 2005.
Gail Hastings, This Performance — A Passing Thought, exhibition catalogue, Gertrude Contemporary, Melbourne 1989.
Rachel Kent, ‘Minimalism: past and present’, in Rachel Kent (ed.), The Infinite Space: Women, Minimalism and the Sculptural Object, exhibition catalogue, The Ian Potter Museum of Art, Melbourne 1998.
Melissa Keys, ‘Gail Hastings: Sculptural Situations’, Sculptural Situations: Gail Hastings, exhibition catalogue, Perth Institute of Contemporary Art, Perth 2008.
Stuart Koop, ‘Gail Hastings’, in Victoria Lynn (ed.), Australian Perspecta 1991, exhibition catalogue, Art Gallery of New South Wales, Sydney 1991, pp.50–51.
Stuart Koop, mission: untitled (blue), exhibition catalogue, Australian Centre of Contemporary Art, Melbourne 2001.
Stuart Koop, ‘Gail Hastings’, red: Text / Images / Sounds, exhibition catalogue, Australian Centre of Contemporary Art, Melbourne 2001, p.61.
Alex Lawler, Faith and Lust: Various Approaches to Formalist Abstraction, exhibition catalogue, Flinders Street Gallery, Sydney 2009.
Victoria Lynn, ‘Introduction’, in Victoria Lynn (ed.), Australian Perspecta 1991, exhibition catalogue, Art Gallery of New South Wales, Sydney 1991, p.11.
Victoria Lynn, ‘Gail Hastings’, in Victoria Lynn (ed.), Passing Time - Moët & Chandon exhibition 2000, exhibition catalogue, Art Gallery of New South Wales, Sydney 2000.
Ewen McDonald, Reservoir, exhibition catalogue, Lake Macquarie City Art Gallery, Lake Macquarie 1996.
Robyn McKenzie, ‘The Local Group: Store 5 1989–1993’, Pitch Your Own Tent: Art Projects / Store 5 / 1st Floor, exhibition catalogue, Monash University Museum of Art, Melbourne 2005, pp.38–47.
Andrew McNamara, ‘Making space for the invisible architecture of the social’, Sculptural Situations: Gail Hastings, exhibition catalogue, Perth Institute of Contemporary Art, Perth 2008.
Andrew McNamara, ‘Hall of mirrors: where to the artwork?’, in David Pestorius (ed.), In Conversation, exhibition catalogue, University Art Museum, Brisbane 2003, pp.40–3.
Andrew McNamara, ‘Monochromes: The beautiful sublime?’, Monochromes, exhibition catalogue, University Art Museum, Brisbane 2001, pp.53, 60.
Andrew McNamara, ‘Gail Hastings’, in Sue Cramer (ed.), Less is More: Minimal and Post-Minimal Art in Australia, exhibition catalogue, Heidi Museum of Modern Art, Melbourne 2012, pp.90–1.
Andrew McNamara, ‘Making space for the invisible architecture of the social’, Sculptural Situations: Gail Hastings, exhibition catalogue, Art Gallery of New South Wales, Sydney no.2.07, 1997.
Linda Michael, ‘No time like the present’, Gail Hastings: To make a work of timeless art, exhibition catalogue, Artspace, Sydney 1996, pp.3–9.
Linda Michael, ‘Gail Hastings’, Primavera: The Belinda Jackson Exhibition of Young Artists, exhibition catalogue, Museum of Contemporary Art, Sydney 1992, p.7.
David Pestorius, Gail Hastings: Five Sculptures 1989–1995, exhibition catalogue, David Pestorius Gallery, Brisbane 1995.
Zara Stanhope, Hothouse: The flower in contemporary art, exhibition catalogue, Monash University Museum of Art, Melbourne 2003, p.6.
Zara Stanhope, ‘Collective Space’, Works from the Collection, exhibition catalogue, Monash University Museum of Art, Melbourne 1993.
Michael Wardell, ‘Art in the Age of Lost Innocence’, 1998 Moët & Chandon Touring Exhibition, exhibition catalogue, Moët & Chandon Australian Art Foundation, Melbourne 1998, p.7.
Renate Wiehager, ‘Gail Hastings’, in Renate Wiehager (ed.), Minimalism and After, exhibition catalogue, Daimler Contemporary, Berlin 2002, pp.30–1.
Renate Wiehager, ‘Contemporary Art in dialogue with 20th century architecture and design: Gail Hastings — Charlotte Perriand’, in Renate Wiehager (ed.), Minimalism and Applied II, exhibition catalogue, Daimler Contemporary, Berlin 2010, pp.2–7.
Renate Wiehager, ‘Gail Hastings’, in Renate Wiehager (ed.), Blitzen Benz Bang: Daimler Art Collection, exhibition catalogue, Hatje Cantz, Berlin 2009, pp.418–423.
Renate Wiehager, The Space Here Is Everywhere: Art with Architecture, exhibition catalogue, Galerien der Stadt Esslingen am Neckar, Esslingen 1999, pp.68–9.

Articles

George Alexander, ‘Peter Hill and Gail Hastings: The Big Picture’, in Elaine Ng (ed.), ArtAsiaPacific, ArtAsiaPacific, Hong Kong issue 54, JUL/AUG 2007.
Edward Colless, ‘The Secret History’, in Ashley Crawford (ed.), World Art, Ashley Crawford, Melbourne issue Inaugural, November 1993, p.38.
Renate Wiehager, ‘Sculptural Situation with Varvara S’, in Christoph Tannert (ed.), Be Magazine, Künstlerhaus Bethanien, Berlin no.6, 2000, pp.83–5.

Reviews

Encyclopaedia of Time in Art: p.28 [cover image]’, in Ricardo Felipe (ed.), Architecture Bulletin – The Room, Autumn 2017, p.[cover], online link, accessed 22 March 2017.
Alan G. Artner, ‘More Than Meets The Eye: Increase In Dealers At Navy Pier Gives `Art 1996 Chicago’ A Distinct European Shift’, Chicago Tribune, May 12 1996.
Judith Blackall, ‘Gail Hastings: Sculptuations’, in Michael Fitzgerald (ed.), Art Monthly Australia, issue 272, 2014, pp.40–3.
Anna Clabburn, Toast of the under-35s’, The Age, Wednesday 6 May 1998, p.20.
Anna Clabburn, When less is much’, The Age, Wednesday 9 Dec 1998, p.17.
Anna Clabburn, Three strolling artists lead the way at MOMA’, The Age, Wednesday 11 Nov 1998, p.19.
Anna Clabburn, Space is the text best thing’, The Weekend Australian: Arts, 22–23 February 2003, p.R13.
Bronwyn Clark-Coolee, ‘Drawings: Harper, Hastings, Wilson, Zikos’, in Juliana Engberg (ed.), Agenda Contemporary Art Magazine, May 1991, p.8.
Annabel Crabb, Missing: Four Sculptuations by Gail Hastings, 2014, online link, accessed 23 October 2016.
Juliana Engberg, ‘Shelf Life / New York’, in Juliana Engberg (ed.), Agenda Contemporary Art Magazine, issue 9, 1989, p.32.
Suzanne Fraser, Direct Democracy at MUMA’, The Melbourne Review, 2013, online link.
Bruce James, Passing Time: The Moet & Chandon Exhibition 2000’, Radio National: arts today, 2000, online link, accessed 23 September 2016.
Lisa Kelly, ‘If Anything.’, in Gwynneth Porter and Dan Arps (ed.), Natural Selection Magazine, issue 1, 2004, pp.7.1–7.2 online link.
Stuart Koop, ‘Gail Hastings: The performance — a passing thought’, in Sarah Follent (ed.), Eyeline, no.11, 1990, p.32.
Ruark Lewis, ‘An emailed note concerning an art talk by Gail Hastings’, in Gwynneth Porter and Dan Arps (ed.), Natural Selection Magazine, issue 1, 2004, p.7.3, online link.
John McDonald, Trash or treasure’, The Sydney Morning Herald, 17 January 2009, online link, accessed 30 October 2016.
Robyn McKenzie, The conceit of coincidence’, The Age, Wednesday 9 Apr 1997, p.37.
Kevin Murray, All this and Heaven too’, Asialink, issue 18, no.2, June 1998, online link.
Isobel Parker Philip, ‘The pure potential of a page’, The Art Life, 2014, online link.
Rosalind Reines, Nouveau Art’, SMH Metro, Friday 28 Aug 1992, p.44.
Robert Rooney, ‘Pursuing a minimal existence’, The Australian, Friday, 23 October 1998, p.19.
Sebastian Smee, Moet runs out of fizz’, Sydney Morning Herald: Art Spectrum, Saturday 19 Feb 2000, p.14s.
Virginia Trioli, A 64-page photocopy wins art award’, The Age, Wednesday 14 Feb 1996, p.3.
Chloé Wolifson, Gail Hastings – Exhibition: To Do’, in Deborah Stone (ed.), Visual Arts Hub: Reviews, 2014, online link, accessed 23 September 2016.

Mentions

Keith Gallasch, Virginia Baxter, In the loop July 24: quick picks’, Realtime, issue 115, June-July 2013, online link, accessed 30 October 2016.
Carmel Dwyer, Putting on the Ritz’, The Sydney Morning Herald, Thursday 7 July 1994, p.22.
Michael Hutak, Young at art: the New Painters’, Sydney Morning Herald Spectrum, 1 January 1994, p.42.
Anna Johnson, Art Beat’, The Sydney Morning Herald: Arts, Friday 9 Feb 1996, p.18.
Anna Johnson, Art Beat’, The Sydney Morning Herald: Arts, Friday 22 Mar 1996, p.18.
Fiona Macdonald, Over It A User’s Guide to Abstraction at the End of the Millennium’, GLOBE E, issue 4, 1996.
David Pestorius, The Lost Album – Is It for Me?’, The Go-Betweens Message Board, 2006, online link, accessed 23 September 2016.

Books

Richard Shiff, ‘Foreword’, Missing: Four Sculptuations by Gail Hasting, Pigment Publisher, Sydney 2014, pp.v-vi.
Amanda Rowell, ‘Afterword’, Missing: Four Sculptuations by Gail Hasting, Pigment Publisher, Sydney 2014, pp.xiv-xivi.
David Raskin, ‘Introduction’, The Missing Space Project: Six interviews, Pigment Publisher, Sydney 2015, pp.8–12.

Curatorial

Peter Anderson, Maryanne Lynch, Two times two is …’, RealtTime, issue 25, June–July 1998, p.44.
Victoria Hynes, Spring Loaded’, The Sydney Morning Herald, 14–20 Sept 2001, p.26.
Anne Loxley, Blind spots that make the mind work’, The Sydney Morning Herald, Wednesday 12 September 2001, p.15.
Virginia Trioli, Student Council closes George Paton Gallery’, The Age, Saturday 3 Nov 1990, p.13.
Sharon Verghis, Modern art you can understand, even if that bloke is off his trolley’, The Sydney Morning Herald, Monday 3 Sep 2001, p.5.

Exhibition Catalogues

George Alexander, Primed Suspects: Gail Hastings’ Sculptural Situations’, But is it Art?: Sculptural Situations by Gail Hastings, exhibition catalogue, The Cross Art Projects, Sydney 2003.
Geraldine Barlow, Direct Democracy, in Geraldine Barlow (ed.), exhibition catalogue, Monash University Museum of Art, Melbourne 2013, pp.50–3, 98–9, 101, 106.
Carolyn Barnes, ‘Dis-location’, in Robert Owen (ed.), Dis-location, exhibition catalogue, Royal Melbourne Institute of Technology, Melbourne 1990, p.6.
Carolyn Barnes, ‘The Identity of Art’, in Gary Wilson (ed.), Octopus, exhibition catalogue, University of South Australia, Adelaide 1992.
Christina Barton, Zara Stanhope, Clare Williamson, ‘Speaking of Strange Bedfellows’, Close Quarters: Contemporary Art from Australia and New Zealand, exhibition catalogue, Monash University Museum of Art and Australian Centre for Contemporary Art, Melbourne 1998, pp.8, 24.
James Birrell, ‘Abstract Distractions’, in David Pestorius (ed.), Space Affects: The art and architecture of James Birrell and Gail Hastings, exhibition catalogue, Metro Arts, Brisbane 1999, pp.23–5.
Anna Clabburn, ‘Who is art for?’, in Maudie Palmer (ed.), Moët & Chandon Touring Exhibition, exhibition catalogue, Moët & Chandon Australian Art Foundation, Melbourne 1996, pp.7, 13, 18, 21.
Sue Cramer, ‘Notes on Contemporary Post-Minimalism (part III): The Viewer’, in Sue Cramer (ed.), Less is More: Minimal and Post-Minimal Art in Australia, exhibition catalogue, Heidi Museum of Modern Art, Melbourne 2012, pp.67–9.
Sue Cramer, MCA Collection: 1994 Selection, exhibition catalogue, Museum of Contemporary Art, Sydney 1994.
Ashley Crawford, Max Delany, Loaded, exhibition catalogue, 13 Verity Street, Melbourne 1990.
John Cruthers, ‘Undone by Art’, In the Company of Women: 100 Years of Australian Women's Art from the Cruthers Collection, exhibition catalogue, Perth Institute of Contemporary Art, Perth 1995, p.21.
Ben Curnow, ‘objects + ideas: revisiting minimalism’, MCA Collection: 1997 Selection, exhibition catalogue, Museum of Contemporary Art, Sydney 1997.
Max Delany, Strolling - the art of arcades, boulevards, barricades, publicity, in Max Delany (ed.), exhibition catalogue, Heidi Museum of Modern Art, Melbourne 1998, p.27.
Juliana Engberg, ‘The Angelic Space: Working in the way of Metaphors and Enigmas’, in Harriet Edquist and Juliana Engberg (ed.), The Angelic Space: A Celebration of Piero Della Francesca, exhibition catalogue, Monash University Museum of Art, Melbourne 1992, p.50.
Juliana Engberg, ‘Love Tokens’, Lovers, exhibition catalogue, Heidi Museum of Modern Art, Melbourne 1995.
Isabel Finch, Clare Lewis, ‘Gail Hastings’, To make a work of timeless art: MCA Primavera Acquisitions, exhibition catalogue, Museum of Contemporary Art, Sydney 2008.
Anne Marie Freybourg, On Dialogue, exhibition catalogue, Haus am Waldsee / Jovis, Berlin 1997.
Uwe Goldenstein, ‘Gail Hastings’, in Peter Friese (ed.), Kunst Nach Kunst, exhibition catalogue, Neues Museum Weserburg Bremen, Bremen 2002, pp.120–3.
Gail Hastings, ‘Store 5 is …, Store 5 was … or, rather, Store 5 was not … easy – let’s face it’, Store 5 is ..., exhibition catalogue, Anna Schwartz Gallery, Melbourne 2005.
Gail Hastings, This Performance — A Passing Thought, exhibition catalogue, Gertrude Contemporary, Melbourne 1989.
Rachel Kent, ‘Minimalism: past and present’, in Rachel Kent (ed.), The Infinite Space: Women, Minimalism and the Sculptural Object, exhibition catalogue, The Ian Potter Museum of Art, Melbourne 1998.
Melissa Keys, ‘Gail Hastings: Sculptural Situations’, Sculptural Situations: Gail Hastings, exhibition catalogue, Perth Institute of Contemporary Art, Perth 2008.
Stuart Koop, ‘Gail Hastings’, in Victoria Lynn (ed.), Australian Perspecta 1991, exhibition catalogue, Art Gallery of New South Wales, Sydney 1991, pp.50–51.
Stuart Koop, mission: untitled (blue), exhibition catalogue, Australian Centre of Contemporary Art, Melbourne 2001.
Stuart Koop, ‘Gail Hastings’, red: Text / Images / Sounds, exhibition catalogue, Australian Centre of Contemporary Art, Melbourne 2001, p.61.
Alex Lawler, Faith and Lust: Various Approaches to Formalist Abstraction, exhibition catalogue, Flinders Street Gallery, Sydney 2009.
Victoria Lynn, ‘Introduction’, in Victoria Lynn (ed.), Australian Perspecta 1991, exhibition catalogue, Art Gallery of New South Wales, Sydney 1991, p.11.
Victoria Lynn, ‘Gail Hastings’, in Victoria Lynn (ed.), Passing Time - Moët & Chandon exhibition 2000, exhibition catalogue, Art Gallery of New South Wales, Sydney 2000.
Ewen McDonald, Reservoir, exhibition catalogue, Lake Macquarie City Art Gallery, Lake Macquarie 1996.
Robyn McKenzie, ‘The Local Group: Store 5 1989–1993’, Pitch Your Own Tent: Art Projects / Store 5 / 1st Floor, exhibition catalogue, Monash University Museum of Art, Melbourne 2005, pp.38–47.
Andrew McNamara, ‘Making space for the invisible architecture of the social’, Sculptural Situations: Gail Hastings, exhibition catalogue, Perth Institute of Contemporary Art, Perth 2008.
Andrew McNamara, ‘Hall of mirrors: where to the artwork?’, in David Pestorius (ed.), In Conversation, exhibition catalogue, University Art Museum, Brisbane 2003, pp.40–3.
Andrew McNamara, ‘Monochromes: The beautiful sublime?’, Monochromes, exhibition catalogue, University Art Museum, Brisbane 2001, pp.53, 60.
Andrew McNamara, ‘Gail Hastings’, in Sue Cramer (ed.), Less is More: Minimal and Post-Minimal Art in Australia, exhibition catalogue, Heidi Museum of Modern Art, Melbourne 2012, pp.90–1.
Andrew McNamara, ‘Making space for the invisible architecture of the social’, Sculptural Situations: Gail Hastings, exhibition catalogue, Art Gallery of New South Wales, Sydney no.2.07, 1997.
Linda Michael, ‘No time like the present’, Gail Hastings: To make a work of timeless art, exhibition catalogue, Artspace, Sydney 1996, pp.3–9.
Linda Michael, ‘Gail Hastings’, Primavera: The Belinda Jackson Exhibition of Young Artists, exhibition catalogue, Museum of Contemporary Art, Sydney 1992, p.7.
David Pestorius, Gail Hastings: Five Sculptures 1989–1995, exhibition catalogue, David Pestorius Gallery, Brisbane 1995.
Zara Stanhope, Hothouse: The flower in contemporary art, exhibition catalogue, Monash University Museum of Art, Melbourne 2003, p.6.
Zara Stanhope, ‘Collective Space’, Works from the Collection, exhibition catalogue, Monash University Museum of Art, Melbourne 1993.
Michael Wardell, ‘Art in the Age of Lost Innocence’, 1998 Moët & Chandon Touring Exhibition, exhibition catalogue, Moët & Chandon Australian Art Foundation, Melbourne 1998, p.7.
Renate Wiehager, ‘Gail Hastings’, in Renate Wiehager (ed.), Minimalism and After, exhibition catalogue, Daimler Contemporary, Berlin 2002, pp.30–1.
Renate Wiehager, ‘Contemporary Art in dialogue with 20th century architecture and design: Gail Hastings — Charlotte Perriand’, in Renate Wiehager (ed.), Minimalism and Applied II, exhibition catalogue, Daimler Contemporary, Berlin 2010, pp.2–7.
Renate Wiehager, ‘Gail Hastings’, in Renate Wiehager (ed.), Blitzen Benz Bang: Daimler Art Collection, exhibition catalogue, Hatje Cantz, Berlin 2009, pp.418–423.
Renate Wiehager, The Space Here Is Everywhere: Art with Architecture, exhibition catalogue, Galerien der Stadt Esslingen am Neckar, Esslingen 1999, pp.68–9.

Articles

George Alexander, ‘Peter Hill and Gail Hastings: The Big Picture’, in Elaine Ng (ed.), ArtAsiaPacific, ArtAsiaPacific, Hong Kong issue 54, JUL/AUG 2007.
Edward Colless, ‘The Secret History’, in Ashley Crawford (ed.), World Art, Ashley Crawford, Melbourne issue Inaugural, November 1993, p.38.
Renate Wiehager, ‘Sculptural Situation with Varvara S’, in Christoph Tannert (ed.), Be Magazine, Künstlerhaus Bethanien, Berlin no.6, 2000, pp.83–5.

Reviews

Encyclopaedia of Time in Art: p.28 [cover image]’, in Ricardo Felipe (ed.), Architecture Bulletin – The Room, Autumn 2017, p.[cover], online link, accessed 22 March 2017.
Alan G. Artner, ‘More Than Meets The Eye: Increase In Dealers At Navy Pier Gives `Art 1996 Chicago’ A Distinct European Shift’, Chicago Tribune, May 12 1996.
Judith Blackall, ‘Gail Hastings: Sculptuations’, in Michael Fitzgerald (ed.), Art Monthly Australia, issue 272, 2014, pp.40–3.
Anna Clabburn, Toast of the under-35s’, The Age, Wednesday 6 May 1998, p.20.
Anna Clabburn, When less is much’, The Age, Wednesday 9 Dec 1998, p.17.
Anna Clabburn, Three strolling artists lead the way at MOMA’, The Age, Wednesday 11 Nov 1998, p.19.
Anna Clabburn, Space is the text best thing’, The Weekend Australian: Arts, 22–23 February 2003, p.R13.
Bronwyn Clark-Coolee, ‘Drawings: Harper, Hastings, Wilson, Zikos’, in Juliana Engberg (ed.), Agenda Contemporary Art Magazine, May 1991, p.8.
Annabel Crabb, Missing: Four Sculptuations by Gail Hastings, 2014, online link, accessed 23 October 2016.
Juliana Engberg, ‘Shelf Life / New York’, in Juliana Engberg (ed.), Agenda Contemporary Art Magazine, issue 9, 1989, p.32.
Suzanne Fraser, Direct Democracy at MUMA’, The Melbourne Review, 2013, online link.
Bruce James, Passing Time: The Moet & Chandon Exhibition 2000’, Radio National: arts today, 2000, online link, accessed 23 September 2016.
Lisa Kelly, ‘If Anything.’, in Gwynneth Porter and Dan Arps (ed.), Natural Selection Magazine, issue 1, 2004, pp.7.1–7.2 online link.
Stuart Koop, ‘Gail Hastings: The performance — a passing thought’, in Sarah Follent (ed.), Eyeline, no.11, 1990, p.32.
Ruark Lewis, ‘An emailed note concerning an art talk by Gail Hastings’, in Gwynneth Porter and Dan Arps (ed.), Natural Selection Magazine, issue 1, 2004, p.7.3, online link.
John McDonald, Trash or treasure’, The Sydney Morning Herald, 17 January 2009, online link, accessed 30 October 2016.
Robyn McKenzie, The conceit of coincidence’, The Age, Wednesday 9 Apr 1997, p.37.
Kevin Murray, All this and Heaven too’, Asialink, issue 18, no.2, June 1998, online link.
Isobel Parker Philip, ‘The pure potential of a page’, The Art Life, 2014, online link.
Rosalind Reines, Nouveau Art’, SMH Metro, Friday 28 Aug 1992, p.44.
Robert Rooney, ‘Pursuing a minimal existence’, The Australian, Friday, 23 October 1998, p.19.
Sebastian Smee, Moet runs out of fizz’, Sydney Morning Herald: Art Spectrum, Saturday 19 Feb 2000, p.14s.
Virginia Trioli, A 64-page photocopy wins art award’, The Age, Wednesday 14 Feb 1996, p.3.
Chloé Wolifson, Gail Hastings – Exhibition: To Do’, in Deborah Stone (ed.), Visual Arts Hub: Reviews, 2014, online link, accessed 23 September 2016.

Mentions

Keith Gallasch, Virginia Baxter, In the loop July 24: quick picks’, Realtime, issue 115, June-July 2013, online link, accessed 30 October 2016.
Carmel Dwyer, Putting on the Ritz’, The Sydney Morning Herald, Thursday 7 July 1994, p.22.
Michael Hutak, Young at art: the New Painters’, Sydney Morning Herald Spectrum, 1 January 1994, p.42.
Anna Johnson, Art Beat’, The Sydney Morning Herald: Arts, Friday 9 Feb 1996, p.18.
Anna Johnson, Art Beat’, The Sydney Morning Herald: Arts, Friday 22 Mar 1996, p.18.
Fiona Macdonald, Over It A User’s Guide to Abstraction at the End of the Millennium’, GLOBE E, issue 4, 1996.
David Pestorius, The Lost Album – Is It for Me?’, The Go-Betweens Message Board, 2006, online link, accessed 23 September 2016.
National Gallery of Australia, Canberra, 2014
Art Gallery of New South Wales, Sydney, 2007
University Art Museum, Brisbane, 2001
University Art Museum, Brisbane, 2001
University Art Museum, Brisbane, 1999
University Art Museum, Brisbane, 1999
Toowoomba Regional Gallery, Toowoomba, 1998
Museum of Contemporary Art, Sydney, 1997
National Gallery of Australia, Canberra, 1996
National Gallery of Australia, Canberra, 1996
National Gallery of Australia, Canberra, 1996
National Gallery of Australia, Canberra, 1996
Griffith University, Brisbane, 1995
Queensland Art Gallery, Brisbane, 1995
Cruthers Collection of Women’s art, Perth, 1994
Monash University Collection, Melbourne, 1993
Museum of Contemporary Art, Sydney, 1993
Daimler Art Collection, Berlin, 2011
Daimler Art Collection, Berlin, 2001
City Bank Collection, New York, 1997
BHP, Melbourne, 1994
Sydney, 2014
Canberra, 2013
Sydney, 2013
Perth, 2011
Sydney, 2011
Sydney, 2011
Sydney, 2011
Sydney, 2010
Sydney, 2010
But is it art? 2003, Primed, Gail Hastings
Chicago, 2009
Chicago, 2009
Chicago, 2009
Melbourne, 2004
Sydney, 2003
San Francisco, 2002
Brisbane, 1999
Düsseldorf, 1999
San Francisco, 1998
Zürich, 1997
Munich, 1997
Munich, 1997
Munich, 1997
Copenhagen, 1997
Düsseldorf, 1997
Zürich, 1997
Zürich, 1997
Zürich, 1996
Brisbane, 1996
Brisbane, 1996
Düsseldorf, 1995
Melbourne, 1994
Melbourne, 1994
Melbourne, 1994
Melbourne, 1993
Melbourne, 1993
Melbourne, 1990
Exhibitions & events by year