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| Charles Blackman Angry Young Girl 1958 oil on canvas Art Gallery of New South Wales, Sydney |
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| Paul Caponigro Nahant, Massachusetts 1958 gelatin silver print Norton Simon Museum, Pasadena, California |
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| Robert Motherwell Elegy to the Spanish Republic 1958 acrylic on canvas National Gallery of Australia, Canberra |
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| Irene (Irene Maud Lentz) Evening Gown 1958 lurex and silk brocade, silk chiffon drapery Phoenix Art Museum, Arizona |
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| Christian Dior Evening Gown 1958 silk faille National Gallery of Victoria, Melbourne |
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| Man Ray Pain Peint 1958 painted plaster loaf atop vintage iron scale National Gallery of Australia, Canberra |
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| Eddy Posthuma de Boer Old Couple 1958 gelatin silver print Kunstmuseum, The Hague |
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| Lewis Morley Aldermaston March, Trafalgar Square 1958 gelatin silver print Art Gallery of New South Wales, Sydney |
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| Jean-Paul Riopelle Canadian Ballet 1958 oil on canvas Beaverbrook Art Gallery, Fredericton, New Brunswick |
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| Loudon Sainthill Costume Design for Shakespeare's Pericles 1958 watercolor and gouache on paper National Gallery of Australia, Canberra |
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| Loudon Sainthill The Musician 1958 watercolor and gouache on paper National Gallery of Australia, Canberra |
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| Lina Bryans Landscape 1958 oil on canvas Heide Museum of Modern Art, Bulleen, Australia |
-Geometric-Motif-1958-hand-colored-transfer-print-National-Gallery-of-Australia-Canberra.jpg){kind=spacer} |
| Ludwig Hirschfeld-Mack Geometric Motif 1958 hand-colored transfer print National Gallery of Australia, Canberra |
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| Elaine de Kooning Standing Bull 1958 oil and acrylic on canvas Arkansas Museum of Fine Arts, Little Rock |
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| Mary Webb Untitled 1958 collage of colored and painted papers National Gallery of Australia, Canberra |
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| Henri Matisse Verve 1958 lithograph (cover of issue devoted posthumously to Matisse) National Gallery of Australia, Canberra |
from The Quest
Within these gates all opening begins:
White shouts and flickers through its green and red,
Where children play at seven earnest sins
And dogs believe their tall conditions dead.
Here adolescence into number breaks
The perfect circle time can draw on stone,
And flesh forgives division as it makes
The perfect circle time can draw on stone,
And flesh forgives division as it makes
Another's moment of consent its own.
All journeys die here: wish and weight are lifted:
Where often round some old maid's desolation
Roses have flung their glory like a cloak,
The gaunt and great, the famed for conversation
Blushed in the stare of evening as they spoke
And felt their centre of volition shifted.
– W.H. Auden (1940)