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  • Shapes of Knowledge Shapes of Knowledge
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  • Simryn Gill: Sweet Chariot Simryn Gill: Sweet Chariot
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  • Sleeveless Fashion, Image, Media, New York 2011–2019 Sleeveless
    Fashion, Image, Media, New York 2011–2019
    By: Natasha Stagg
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  • Soft Stir Issue #3 Stories of Collision Soft Stir Issue #3 Stories of Collision
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  • Somewhat Eternal: Justine Youssef Somewhat Eternal
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  • Source Materials Source Materials
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  • Stopped Short: Writings on Len Lye 1977-2017 Wystan Curnow Stopped Short: Writings on Len Lye 1977-2017 Wystan Curnow
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    By: Wystan Curnow
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  • The Abyss The Abyss
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  • The Data Imaginary Fears and Fantasies The Data Imaginary Fears and Fantasies
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  • The Dingo Project The Dingo Project
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  • The Hologram Feminist, Peer-to-Peer Health for a Post-Pandemic Future The Hologram Feminist, Peer-to-Peer Health for a Post-Pandemic Future
    By: Cassie Thornton
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  • The Intolerable Present, the Urgency of Revolution Minorities and Classes The Intolerable Present,
    the Urgency of Revolution Minorities and Classes
    By: Maurizio Lazzarato
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  • Town Hall No. 1 Town Hall
    Eds.: Robert Leonard and Tina Agic
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  • Truth Universally Acknowledged catalogue Truth Universally Acknowledged catalogue
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  • Ugo Rondinone – Clockwork for Oracle catalogue Ugo Rondinone – Clockwork for Oracle catalogue
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  • un Anthology 2014–2024: another decade of art and ideas un Anthology 2014–2024: another decade of art and ideas
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Institute of Modern Art

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ima@ima.org.au


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The IMA is supported by the Queensland Government through Arts Queensland, the Australian Government through Creative Australia, and the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments. The IMA is a member of Contemporary Art Organisations Australia.

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Daniel McKewen
IMA at Ksubi

05 May–06 Jun 2012

The Institute of Modern Art acknowledges the traditional custodians of the land upon which the IMA now stands, the Jagera, Yuggera, Yugarapul, and Turrbal people. We offer our respect to Aboriginal and Torres Strait Islander people as the first artists of this country. In the spirit of allyship, the IMA will continue to work with First Nations people to celebrate, support, and present their immense past, present, and future contribution to artistic practice and cultural expression.

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Current Obsession- Issue 9 - Chapter VI - Self-Tchnology of Becoming
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