From 1941 to 2025: A Historic Shift in How Australian Aboriginal Art is Presented to the World
In 1941, the Art of Australia 1788-1941 exhibition, curated by Theodor Sizer, marked the first major effort to introduce Australian art to North America. The exhibition focused heavily on settler and colonial works, reflecting European traditions that had taken root in Australia. However, Sizer made a rare and insightful observation, stating that "the native art was immeasurably superior in artistic merit," recognising the unique value of Aboriginal art despite its limited inclusion in the exhibition.
At that time, Aboriginal art was often framed as ethnographic artefacts, appreciated more for their cultural significance than for their artistic merit. While the 1941 exhibition opened the door for Australian art, it left much of the story untold, especially the vibrant and ancient traditions of Australia’s First Nations people.
Fast forward to 2025, and the narrative has completely transformed. The Stars We Do Not See: Australian Indigenous Art, a groundbreaking collaboration between the National Gallery of Art in Washington, D.C., and the National Gallery of Victoria (NGV), shifts the focus entirely. For the first time, North American audiences will experience over 200 works from Aboriginal and Torres Strait Islander artists, representing the full depth and diversity of Indigenous Australian art. This exhibition does what Sizer's 1941 effort could not: place Indigenous art at the centre of Australia’s artistic identity.
A Monumental Exhibition of Indigenous Masterpieces
Curated by the NGV, The Stars We Do Not See offers a comprehensive look at Indigenous Australian art, spanning from the late 19th century to today. With over 200 works by more than 130 artists, the exhibition highlights the creativity, resilience, and cultural legacy of Australia's First Nations people. From the intricate dot paintings of Central Australia to neon installations and experimental weavings, this exhibition showcases the extraordinary breadth of Indigenous artistic expression.
A key highlight is Emily Kam Kngwarray’s iconic masterpiece, Anwerlarr Anganenty (Big Yam Dreaming) (1995). This monumental canvas, measuring more than 9 by 27 feet, represents the underground yam-root networks that play a central role in Kngwarray’s Anmatyerr culture. For the first time, North American audiences will be able to experience this work, along with many other masterpieces that have never left Australia before.
Expanding the Scope of Indigenous Art
Where the 1941 exhibition gave Aboriginal art only passing attention, The Stars We Do Not See makes it the focal point. The exhibition features not just the well-known styles such as dot paintings and bark art but also explores modern mediums like photography, video art, and sound installations. Contemporary artists such as Brook Andrew, Richard Bell, and Maree Clarke bring fresh perspectives on identity, colonisation, and the ongoing political struggles faced by Indigenous Australians.
For example, Christian Thompson’s Burdi Burdi (Fire Fire) (2021), a four-channel sound installation, confronts the loss of First Nations languages, while Destiny Deacon’s Snow Storm (2005) critiques how Aboriginal cultural objects have been historically displayed in museums, framed in a detached, clinical manner.
A Cultural Exchange with Global Significance
This exhibition represents more than just a chance to showcase Australian art abroad—it reflects a growing global recognition of the importance of First Nations art. As Tony Ellwood, director of the NGV, put it, “To send such a large and significant collection overseas is no small feat. We are delighted to share the stories and work of Indigenous Australian artists with the world and foster greater understanding through this monumental cultural exchange.”
The exhibition is part of a broader international shift, where Indigenous art is finally being acknowledged on equal footing with Western traditions. Recent exhibitions such as Songlines: Tracking the Seven Sisters and Ever Present: First Peoples Art of Australia have also drawn attention to the rich history and contemporary practices of Aboriginal and Torres Strait Islander artists, and The Stars We Do Not See is set to further amplify these voices.
Exhibition Schedule
The exhibition’s North American tour is sponsored by Bank of America, and the schedule is as follows:
- National Gallery of Art, Washington, D.C.: 18 October 2025 – 1 March 2026
- Denver Art Museum, Colorado: 19 April – 26 July 2026
- Portland Art Museum, Oregon: September 2026 – January 2027
- Peabody Essex Museum, Massachusetts: February – June 2027
- Royal Ontario Museum, Toronto: July 2027 – January 2028
A New Era of Recognition for Indigenous Art
As we look back to 1941 and Sizer’s early recognition of Aboriginal art’s merit, it’s clear how much has changed. Where Aboriginal art was once relegated to the margins, it now takes its rightful place at the forefront of Australian artistic identity. The Stars We Do Not See offers a once-in-a-lifetime chance for North American audiences to engage with some of the most significant works from Australia’s First Nations communities.
Join us in celebrating the beauty, resilience, and creativity of Indigenous Australian art as it takes centre stage in this historic cultural exchange.