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| Dora Chapman Self Portrait ca. 1937 oil on canvas National Gallery of Australia, Canberra |
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| Dora Chapman Self Portrait ca. 1940 oil on canvas Art Gallery of South Australia, Adelaide |
-Long-Chair-c1936-laminated-plywood-National-Gallery-of-Australia-Canberra.jpg) |
| Marcel Breuer Long Chair ca. 1936 laminated plywood National Gallery of Australia, Canberra |
-Wassily-Lounge-Chair-1925-(manufactured-later)-tubular-steel-frame-with-canvas-panels-Royal-Ontario-Museum-Toronto.jpg) |
| Marcel Breuer Wassily Lounge Chair 1925 (this example manufactured later) tubular steel frame with canvas panels Royal Ontario Museum, Toronto |
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| James Boyd Figure Study ca. 1953-55 charcoal and watercolor on paper Ottawa Art Gallery, Ontario |
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| James Boyd Figure Study ca. 1953-55 charcoal on paper Ottawa Art Gallery, Ontario |
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| Will Carqueville Lippincott's February 1895 lithograph (poster) National Gallery of Australia, Canberra |
-Delaware-Art-Museum-Wilmington.jpeg) |
| Will Carqueville Lippincott's February 1895 lithograph (poster) Delaware Art Museum, Wilmington |
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| Kirsten Coelho Colander, Oil Can & Bottle 2017-18 porcelain Art Gallery of South Australia, Adelaide |
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| Kirsten Coelho Ridged Vase, Bottle & Funnel 2017 porcelain Art Gallery of South Australia, Adelaide |
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| Alfred Joseph Casson Crocuses ca. 1948 screenprint Art Gallery of Greater Victoria, British Columbia |
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| Alfred Joseph Casson Tulips ca. 1948 screenprint Art Gallery of Greater Victoria, British Columbia |
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| AES+F (art collective) Allegoria Sacra: Knight and Death 2012 pigment print private collection |
-Untitled-2020-pigment-print-Art-Gallery-of-South-Australia-Adelaide.png) |
| AES+F (art collective) Untitled 2020 pigment print Art Gallery of South Australia, Adelaide |
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| Claude Cahun Self Portrait 1928 gelatin silver print Museum Boijmans Van Beuningen, Rotterdam |
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| Claude Cahun Self Portrait 1929 gelatin silver print Museum Boijmans Van Beuningen, Rotterdam |
The Racer's Widow
The elements have merged into solicitude.
Spasms of violets rise above the mud
And weed and soon the birds and ancients
Will be starting to arrive, bereaving points
South. But never mind. It is not painful to discuss
His death. I have been primed for this,
For separation, for so long. But still his face assaults
Me. I can hear that car careen again, the crowd coagulate on asphalt.
In my sleep. And watching him, I feel my legs like snow
that let him finally let him go.
As he lies draining there. And see
How even he did not get to keep that lovely body.
– Louise Glück (1968)