View of “Unfinished Business,” 2017–18. Photo: Andrew Curtis.

View of “Unfinished Business,” 2017–18. Photo: Andrew Curtis.

“Unfinished Business”

ACCA: Australian Center for Contemporary Art

View of “Unfinished Business,” 2017–18. Photo: Andrew Curtis.

“Unfinished Business: Perspectives on art and feminism” took as its structuring principle the theme of polyphony to demonstrate the maxim “There is no viable feminism, only pluralist feminisms.” And the show had a six-piece curatorial team to prove it, allowing for internal dissent, and for different and even antithetical subject positions to emerge within the exhibition. Though it concentrated on contemporary Australian art and included several new commissions, “Unfinished Business” was anchored by some important historical touchstones. Under the framework of polyphony, central core imagery by figures such as Frances (Budden) Phoenix, and Vivienne Binns from the 1960s and 1970s, and—slightly later—by Fiona Foley could be perceived as opposing without negating gender nonbinary and trans-masculine positions in the show, such as Spence Messih and Vincent Silk’s sculptural/textual

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