Five Acts of Love, now on at the Australian Centre for Contemporary Art, isn't a show about romance.

It's about love when it's fierce, when it's fragile; when it lives inside grief, memory, resistance, and revolution.

The practices of Megan Cope and Ali Tayhori stretch across Country, history, family and faith, reminding us that love isn't always gentle, but it's always alive.

When artists step into the theatre, the stillness of the studio meets the breath of the stage. And audiences, perhaps without even knowing, lean in.

Illume is one of those collaborations, where Goolarrgon Bard visual artist Darrell Sibosado and Bangarra Dance Theatre's Artistic Director, Wirangu and Mirning woman, Frances Rings have made something luminous.

In this work, light is used as more than illumination: it's a character in the performance. Darrell and Frances explore how the show brings Country to the stage and how they integrated light into the show without overwhelming the performers.

Yolŋu Power: The Art of Yirrkala, at the Art Gallery of New South Wales, is not just an art exhibition, but a field of ancestral presence.

It's a space of authority and deep listening that shows what art can be when it is inseparable from land, from water, from Law, and from the unbroken chain of Yolŋu knowledge.

It's also the featured Winter exhibition at the Art Gallery of NSW, an important acknowledgement that Australian art is worthy of standing alongside the impressionist and modernist masterpieces at other state galleries.

Yinimala Gumana, Gunybi Ganambarr, and Will Stubbs share their knowledge 

For much of the last century, in museums, the works of Aboriginal and Torres Strait Islander artists were treated as something outside the main story — consigned to a footnote of history or a side room in major galleries.

A new exhibition at the Potter Museum of Art wants to put the record straight.

Titled 65,000 Years: A Short History of Australian Art, it puts — front and centre — the remarkable work of Indigenous artists and places them in conversation with the colonial art that often treated them as subjects, rather than as equals.

Co-curator Shanysa McConville explores the exhibition and the history that lies behind it.

From feminist beginnings to kitsch commercialism, minigolf has a rich history. But what happens when you let artists loose to design their own holes?

Forget white walls and hushed tones—today we're heading to a golf course.

Curator Grace Herbert explains the ideas behind Swingers, where putters are swapped for latex tails and square balls add a unique challenge.

Arcangelo Sassolino's work captures a suspended instant: just before collapse, just after ignition. 

At the 2022 Venice Biennale, Sassolino paid homage to Caravaggio's Beheading of Saint John the Baptist. But where Caravaggio painted light and shadow, Sassolino sculpts with fire and steel: molten light heated to 1500 degrees, falling from above into dark pools of water. 

In his latest exhibition at MONA, In the End, The Beginning, materials are pushed to their edge and sometimes beyond.

Del Kathryn Barton exorcised her rage in her critically acclaimed feature film Blaze, but its aftermath is grief. 

You wouldn't know it if you cast your eye around her Paddington studio: wide-eyed sylphs, sibyls and sages emerge from minutely detailed canvases where chequerboards, dots and strawberries are laden with new meaning. 

Much like a cinema auteur, DKB is engaged in a world-building project and it's a place that brims with female power and agency. 

Who else but Del Kathryn Barton joins The Art Show as Daniel Browning says goodbye after 31 years at the ABC.

Jason Maling works in the expanded field where — through the interface of technology, screens and a sound system — the sonic and the visual are conducted before a live audience. 

Diagrammatica was inspired by physics diagrams, but it's grown into a beast: part drawing, part durational performance and part musical composition. 

And it all takes place underground — in a gallery known rather ominously as Slot 9 — sandwiched between two rail lines under Melbourne's commuter transit hub, Federation Square.

Recently on the show we met Filipino artist Pio Abad to hear about his Turner Prize nominated exhibition 'To Those Sitting in Darkness' which re-presented museum objects to reveal hidden histories and the deep legacies of colonialism. 

Thai-Australian multidisciplinary artist Nathan Beard takes a different, less didactic, approach but, like Pio Abad, is working with cultural objects that are largely unseen. In Beard's case, Buddha heads made for ritual use, squirrelled away in the British Museum. 

The exoticisation and familiarity of Thai culture has proved to be fertile ground for Beard's artwork — where he gives free rein to his critical approach and his broad, irreverent sense of humour.

Although he's one of Australia's most established, commercially successful and prolific artists, Dale Frank is a reluctant interview subject.

Eccentric, reclusive, visionary, trailblazer — a sublime colourist, even a likeable arsehole — these are just some of the ways he's described.

Which makes it even more remarkable that he agreed to be the subject of a documentary feature film — a rare thing for a living Australian artist.

With a menagerie of exotic taxidermied animals and the odd studio assistant for company, Frank not only produces enormous bodies of work, but he is realising another artistic vision: a botanical garden filled with dry climate species from all over the world.

He does all this while managing acute pain from a debilitating illness, and the wear and tear of an embodied artmaking practice that stretches back four decades.