It will also become the largest collection of First Nations artworks to travel widely as, following its premiere in Washington D.C., "The Stars We Do Not See: Australian Indigenous Art" will travel to several more museums.
National Gallery of Art Partners with NGV for Indigenous Australian Art Exhibition
The National Gallery of Art in Washington, D.C., has announced a collaboration with the National Gallery of Victoria (NGV) in Australia to showcase Indigenous Australian art.
"The Stars We Do Not See" Exhibition
The partnership will kick off with the largest-ever exhibition of Indigenous Australian art in the U.S., titled "The Stars We Do Not See." This exhibition will debut in Washington, D.C., in October 2024.
Featuring over 200 pieces by 130 artists, the exhibition will showcase a wide range of Indigenous Australian art, from traditional dot paintings to contemporary works.
Highlighting Indigenous Creativity
"The Stars We Do Not See" aims to highlight the rich and diverse visual traditions of Australia's Indigenous nations. The exhibition will explore the spiritual and cultural significance of Indigenous art, including dot paintings and other traditional forms.
The show's title is inspired by the late Yolŋu artist Gulumbu Yunupiŋu, known for her intricate dot paintings that evoke the vastness of the starry sky.
Key Artists and Works
The exhibition will feature works by renowned Indigenous artists such as:
- Emily Kam Kngwarray
- Brook Andrew
- Reko Rennie
- Ricky Maynard
- Maree Clarke
- Lorraine Connelly-Northey
- Richard Bell
These artists represent a diverse range of styles and perspectives within Indigenous Australian art.
Growing International Recognition
The partnership between the National Gallery of Art and the NGV reflects the growing international recognition of Indigenous Australian art.
The exhibition will offer American audiences a unique opportunity to experience the beauty and cultural significance of Indigenous Australian art.
‘The Stars We Do Not See’ will be the largest representation of its kind globally, which is a huge feat and a major milestone for the NGV. It will also become the largest collection of First Nations artworks to travel widely as, following the premiere in Washington D.C., the exhibition will tour the U.S. and Canada from 2025 to 2027, stopping at the Denver Art Museum, the Portland Art Museum, the Peabody Essex Museum in Salem, MA, and the Royal Ontario Museum in Canada.
In exchange, the National Gallery of Art will send a selection of major works from its collection of modern and contemporary American art to be displayed at the NGV. Ellwood noted how the contemporary art world is finally giving Indigenous and First Nations artists the spotlight, recognizing their work as powerful carriers of ancestral traditions, wisdom and alternative paradigms that can inspire a more sustainable relationship with the planet.
While this trend has been growing for years, this year’s Venice Biennale cemented Indigenous artists’ “emblematic presence,” as artistic director Adriano Pedrosa wrote. Several national pavilions achieved historic firsts this year by showcasing Indigenous artists. Examples include Jeffrey Gibson’s vibrant takeover of the U.S. Pavilion, Glicéria Tupinambá’s work in Brazil’s pavilion (renamed Hãhãwpuá) and Inuuteq Storch becoming the first Greenlandic and Inuk artist to represent Denmark.
The Golden Lion for Best National Participation went to Australia for First Nation artist Archie Moore’s powerful installation spanning 5,000 years of Indigenous history—both recorded and lost. Inscribed with charcoal on dark walls, the installation contrasts starkly with redacted State records floating in a moat of water. Moore’s lyrical reflection on family archives and national records highlights the historical oppression and high incarceration rates of First Nations people, confronting the viewer with the lingering effects of colonial governance.
The rise of awareness around Indigenous culture and rights, as well as the need to preserve their cultural production, began long before the recent attention from institutions like the Biennale. “The Aboriginal Tent Embassy,” an ongoing protest for Indigenous land rights, was established in Australia in 1972. Australia’s Indigenous peoples, often described as the oldest continuous culture on earth, boast a history that stretches back over 65,000 years.
This remarkable longevity can be attributed to their deep connection with the land, rich spiritual beliefs, complex social systems and adaptability over time, but it’s also a testament to their fierce resistance and resilience in the face of new settlers, which has played a key role in preserving their cultural identity.
In New York, the Asia Society recently opened “Maḏayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala,” an exhibition highlighting the rich history of Aboriginal bark painting. Curated by the Yolŋu people of northeastern Arnhem Land, Australia, the show includes thirty-three newly commissioned pieces alongside other unique examples of the process.
Earlier this year, Tate launched an initiative aimed at increasing its collection of Indigenous art, starting with a four-year commitment from the AKO Foundation to fund the acquisition of Sámi and Inuit works from Northern Europe. The institution will, in the future, undertake projects to research, collect and display artworks from Indigenous communities in South Asia, Oceania and the Americas.
In late August, the museum also announced its acquisition of Moore’s award-winning Venice Biennale installation. “The Stars We Do Not See: Australian Indigenous Art” will open at the National Gallery of Art, Washington D.C., on October 15 and run through March 1, 2026. The exhibition will then travel to the Denver Art Museum (April 19-July 26, 2026), the Portland Art Museum (September 2026-January 2027), the Peabody Essex Museum (February-June 2027) and the Royal Ontario Museum, Toronto (July 2027-January 2028).
Elisa Carollo