Over half a century, Peter Tyndall’s oeuvre has undergone an enigmatic evolution. This survey, comprising more than two hundred works, begins with a single black-and-white painting from 1993 of the pictogram that in 1974 Tyndall conceived of as his primary symbol and which he has continued using ever since: a square with two vertical lines protruding from the top like antennae, signifying a painting and its hanging wires.

Having emerged in Melbourne in the mid-1970s, Tyndall is associated with that city’s distinctive postmodernist scene, with its tongue-in-cheek intersection of European modernism