Realities Gallery

In 1970 Danish-born Marianne Baillieu (1939–2012) set up business importing artworks for sale. With her husband, solicitor and businessman Ian Baillieu,{{cite news |url=http://nla.gov.au/nla.news-article44799974 |title=THE ONE ACCESSORY I JUST CAN'T LIVE WITHOUT |newspaper=The Australian Women's Weekly |volume=41 |issue=52 |location=Australia |date=29 May 1974 |accessdate=17 November 2019 |page=41 |via=National Library of Australia}} they purchased a small retail property in Ross Street, Toorak, which they renovated to open Realities gallery there in April 1971. The Bulletin magazine described the gallery in up-market Toorak Village as having "the air of a sparkling white eggshell with almost every surface glazed white, including the floor which means the public must put on Abominable Snowman socks to be able to walk on it."

In October 1974 the gallery presented old master drawings, watercolours and prints rarely seen for sale in Australia. The works were acquired from London, Boston, and New York. A catalogue of 35 pages, including 12 pages of plates, displayed works in the exhibition from Italian, Dutch and French schools from the 16th to 18th centuries, including Annibale Carracci's Head of a Boy Wearing a Flat Cap priced at $A12,500; Giovanni Battista Tiepolo with two drawings ($A7,000 and $A8,000); and Jacob Jordaens' The Martyrdom of St Sebastian ($A7,500), with others by Bonasone, Boschi, Busiri, Cipriani, Ferri, Garzi, Graziani, Martini, Novelli, and Pinelli.{{Citation|title=ART (5 October 1974)|journal=The Bulletin|volume=096|issue=4926|date=1974-10-05|publisher=John Haynes and J.F. Archibald|issn=0007-4039}}{{Citation|title=ART (27 April 1974)|journal=The Bulletin|volume=096|issue=4903|date=1974-04-27|publisher=John Haynes and J.F. Archibald|issn=0007-4039}} Another achievement of this early period was Baillieu's sale of works to the Sydney Opera House which was then completing construction.

Realities attracted crowds of students and the general public and Baillieu expressed her delight in giving wide exposure to a broad range of the art that she showed, which included dolls,{{cite news |url=http://nla.gov.au/nla.news-article126826035 |title=VIBRANT, VOLATILE ARTIST |newspaper=The Canberra Times |volume=55 |issue=16,598 |location=Australian Capital Territory, Australia |date=7 March 1981 |accessdate=17 November 2019 |page=17 |via=National Library of Australia}} weaving and electronics as well as the traditional media:

“I like to produce exhibitions which have purpose. I like to classify, not just show things indiscriminately. I like to put together a formal survey which will produce an emotional reaction for the community, one aspect of an artist’s work, a trend or movement. For instance I have had exhibitions showing artists work today beside their work [of] 20 years ago."{{Citation | title=MELBOURNE The boom some love to hate (21 September 1974) | journal=The Bulletin | date=1974-09-21 | publisher=John Haynes and J.F. Archibald | volume=096 | issue=4924 | issn=0007-4039 }}

The early 1970s brought a boom in sales of locally produced art, joining a worldwide upward trend in the art market that did not pause until the early 1990s.{{Cite web|url=https://www.aasd.com.au/index.cfm/sales-by-year-au/|title=Australian Art Auction Sales - Numbers Offered and Sold|website=www.aasd.com.au|access-date=2019-11-17}} The major state galleries, especially those of Victoria and New South Wales which were glamorously re-housed, were collecting Australian works and receiving blockbuster exhibitions from overseas, and art was seen as a viable investment, with incentives provided by the culturally activist Whitlam government.{{Cite web|url=https://nma.gov.au/research/understanding-museums/DThomas_2011.html|title=Understanding Museums - Art Museums in Australia|last=Australia|first=National Museum of|date=2011-06-08|website=nma.gov.au|access-date=2019-11-17}}

Deciding to concentrate on Australian artists,{{Citation | author1=Heathcote, Christopher | author2=Kemp, Roger, 1908-1987 | title=A quest for enlightenment : the art of Roger Kemp | page=148 | date=2007 | publisher=Macmillan | isbn=978-1-876832-43-8 }}{{Citation | author1=Sibley, Andrew J | author2=Thomas, David, 1937-, (author.) | author3=McGregor, Ken, (book producer.) | title=Andrew Sibley : an epic of the everyman | date=2004 | publisher=Macmillan Art | isbn=978-1-876832-15-5 }}{{Citation | author1=Harding, Lesley | author2=Morgan, Kendrah, (author.) | title=Mirka & Georges : a culinary affair | date=2018 | publisher=Miegunyah Press | edition=1st | isbn=978-0-522-87220-0 }} in 1975, Baillieu moved Realities to 33-35 Jackson Street, Toorak.{{Citation | title=End of the haul (17 April 1976) | journal=The Bulletin | date=1976-04-17 | publisher=John Haynes and J.F. Archibald | volume=098 | issue=5003 | issn=0007-4039 }} Incidentally, the same year saw the closure of neighbouring Toorak Gallery 1.3 km away at 277 Toorak Rd., South Yarra, which had for ten years shown mainly contemporary Australian art.{{Cite book|url=https://trove.nla.gov.au/version/39487771|title=[Toorak Art Gallery : Australian Gallery File]|last=Gallery|first=Toorak Art|language=English}}{{Cite web|url=http://www.printsandprintmaking.gov.au/galleries/2460/|title=Toorak Art Gallery [1]. (1964 – 1974) · Australian Prints + Printmaking|website=www.printsandprintmaking.gov.au|access-date=2019-12-03}}

Realities' new venue was on a larger site of 1,117 sq. metres occupied by historic buildings; a schoolhouse (c.1867), parish hall (c.1912), verger’s cottage (1928) and a small ablutions block, and had them renovated and combined by architect Ross Ramus of Gunn Hayball Pty. Ltd.{{Cite web|url=http://www.stonnington.vic.gov.au/files/assets/public/adl/heritage-overlays/ho372-st-johns-33-35-jackson-street-toorak.pdf|title=Heritage Place – Citation Assessment: Former St Johns Church of England School and Parish Hall|last=Statham|first=John|date=1 October 2009|website=Stonnington Council|archive-url=|archive-date=|access-date=}} The adaptation of the building as a gallery (most particularly the work to the Hall) was documented in a contemporary national survey as an example of the recycling of heritage buildings.{{Citation | author1=Latreille, Anne | author2=Latreille, Peter | author3=Lovell, Peter H | title=New uses for old buildings in Australia | page=52 | date=1981 | publisher=Oxford University Press | isbn=978-0-19-554301-8 }} George Baldessin's three-part sculpture in bronze, rusted steel and chrome was sited at the entrance, and the first exhibition was Roger Kemp's.{{Citation | title=MELBOURNE A moveable festival (25 October 1975) | journal=The Bulletin | date=1975-10-25 | publisher=John Haynes and J.F. Archibald | volume=097 | issue=4980 | issn=0007-4039 }} Brigid Cole-Adams described the space in an April 1980 article on the occasion of Bailleu's departure;

{{blockquote|"It is housed in an old church covered in morning glory which once echoed to the dibbing and dobbing or small scouts. Now the wooden ceilings have been opened with skylights and the white walls will take even the largest modern paintings. The main hall is used for exhibitions and a second room, through the office, displays work in stock…Off this room Is a small courtyard with [a sculpture of a woman in her bath] in polyester and epoxy resin by Port Fairy sculptor Don Stewart."}}

Aboriginal art also enjoyed unprecedented interest,{{Cite web|url=https://esacentral.org.au/images/Coate.pdf|title=A Comparative Study of Australian Indigenous and Non-Indigenous Art|last=Coate|first=Bronwyn|date=|website=|archive-url=|archive-date=|access-date=}} and in August 1977, Baillieu presented Paintings by the Desert Tribes of Central Australia at Realities,{{Cite web|url=http://paulzika.com.au/media/1/Landscape_some_interpretations_1981_Final.pdf|title=Catalogue: 'Some Interpretations of Landscape'. Tasmanian School of Art Gallery, University Of Tasmania, Mt. Nelson Campus, Hobart. October 26- November 14, 1981.|date=1981|website=Paul Zika|archive-url=|archive-date=|access-date=}} the first exhibition by Papunya Tula artists at a commercial gallery, and sold Clifford Possum Tjapaltjarri's Warlugulong (1977), an acrylic on canvas painting, for A$1,200 to the Commonwealth Bank.{{Citation | author1=Ryan, Judith | author2=Batty, Philip | author3=National Gallery of Victoria | title=Tjukurrtjanu : origins of Western Desert art | date=2011 | publisher=National Gallery of Victoria | isbn=978-0-7241-0345-4 }} After being on-sold several times, the work was auctioned in 2007 for $2.4 million, beating all previous records for Aboriginal artwork.{{Cite web|url=https://www.news.com.au/national/clifford-possum-art-sells-for-24m-record/news-story/6ebbd18342df28e1c8fa110b428b9109|title=Clifford Possum art sells for $2.4m record|date=2007-07-24|website=NewsComAu|access-date=2019-11-17}}

Realities was one of few contemporary art galleries to show photography just as it too became collectible. Photographer-exhibitors included Bill Henson, Mark Strizic, Grant Mudford, American Leigh Weiner, and Joyce Evans.

In 1981 as Gough Whitlam launched a biography{{Citation | author1=Allen, Traudi | author2=Pugh, Clifton, 1924-1990 | title=Clifton Pugh, patterns of a lifetime : a biography | date=1981 | publisher=Nelson | isbn=978-0-17-005443-0 }} of Melbourne artist Clifton Pugh at the gallery, he joked about having to make his speech in front of his nemesis Sir John Kerr in a controversial portrait painted by Pugh in 1975;{{Cite web|url=https://www.aspistrategist.org.au/remembrance-day-the-governor-general-and-the-dismissal-40-years-on/3406472934_a5704f8c81_z/|title=Taken at Realities Gallery in Toorak almost seven years after the dismissal, we see Gough Whitlam launching Clifton Pugh's biography "Patterns of a Lifetime" while appearing to be shadowed by a sinister ghost or demon from the past - in the form of Pugh's virtual life-size portrait of Kerr.|website=The Strategist|language=en-AU|access-date=2019-11-18}} "I'll have you know I had nothing to do with the placing of the exhibit."{{cite news |url=http://nla.gov.au/nla.news-article126829272 |title=Casting a long shadow |newspaper=The Canberra Times |volume=55 |issue=16,614 |location=Australian Capital Territory, Australia |date=23 March 1981 |accessdate=17 November 2019 |page=7 |via=National Library of Australia}} In the same year, a joint exhibition by Pugh and Frank Hodgkinson of works they made in Arnhem Land was sold out for $100,000 before opening, the works all purchased by the one buyer, the multi-millionaire former car salesman Dennis Gowing.{{cite news |url=http://nla.gov.au/nla.news-article51773313 |title=Mansion that's a million-dollar hobby |newspaper=The Australian Women's Weekly |volume=49 |issue=2 |location=Australia |date=17 June 1981 |accessdate=17 November 2019 |page=84 |via=National Library of Australia}}

Baillieu was notably coy about money matters, saying "I never try to sell paintings, people have to ask me to buy them," and prices were not displayed on the works on exhibition, nor in the catalogues.Brigid Cole-Adams, 'Art on the grand scale,' in The Age, Tuesday, 15 April 1980, p.21

Baillieu remained director from 1971 until 1980.{{Cite web|url=https://www.smh.com.au/national/gallery-owner-chose-to-be-game-not-gamekeeper-20120410-1wmt6.html|title=Gallery owner chose to be game not gamekeeper|last=MYER|first=ROD|date=2012-04-10|website=The Sydney Morning Herald|language=en|access-date=2019-11-17}} In 1976 Evi Robinson, as administrator, and Rhonda Senbergs,{{Cite book|url=http://au.blurb.com/b/1943076-realities|title=Realities by Luba Bilu {{!}} Blurb Books Australia|date=2011-01-24|language=en}} both partners of artists who exhibited there, joined her. Following her mother's death, in 1980 Baillieu sold the gallery to Pauline Wrobel for $365,000 (a value of $1,574,000 in 2019), and moved in 1981 to a studio house in Williamstown to paint full time,Lynette Fern, 'Galleries,' in The Sydney Morning Herald, Friday, 26 October 1990, p.16 becoming a finalist in the 1988 Archibald Prize with a controversial three-metre tall semi-abstract portrait of filmmaker Paul Cox which attracted further notoriety when it was cut and smeared by vandals.Louise Bellamy, 'Vandalism inspires art,' in The Age, Thursday, 23 November 1989, p.14

The gallery continued under the management of Wrobel and Robinson who retained most of the stable of artists.{{cite news |url=http://nla.gov.au/nla.news-article44525035 |title=Putting the art before the course |newspaper=The Australian Women's Weekly |volume=50 |issue=25 |location=Australia |date=8 December 1982 |accessdate=17 November 2019 |page=29 |via=National Library of Australia}} The scale of most paintings exhibited meant they were rarely purchased for domestic settings, so buyers were museums, public galleries, banks and corporations, and amongst the purchasers of artworks from Realities were Government departments including, for example, the Department of Home Affairs and Environment ($3,500{{cite news |url=http://nla.gov.au/nla.news-article240722824 |title=Contracts Arranged |newspaper=Commonwealth Of Australia Gazette. General |issue=G37 |location=Australia |date=14 September 1982 |accessdate=17 November 2019 |page=83 |via=National Library of Australia}} and $6,150 in 1982),{{cite news |url=http://nla.gov.au/nla.news-article240723594 |title=Contracts Arranged |newspaper=Commonwealth Of Australia Gazette. General |issue=G43 |location=Australia |date=26 October 1982 |accessdate=17 November 2019 |page=60 |via=National Library of Australia}} and New South Wales Artbank ($11,900 in 1988,{{cite news |url=http://nla.gov.au/nla.news-article245461366 |title=CONTRACTS ARRANGED |newspaper=Commonwealth Of Australia Gazette. Purchasing And Disposals |issue=PD32 |location=Australia |date=31 August 1988 |accessdate=17 November 2019 |page=1770 |via=National Library of Australia}} and $2,950 in 1989).{{cite news |url=http://nla.gov.au/nla.news-article245375069 |title=CONTRACTS ARRANGED |newspaper=Commonwealth Of Australia Gazette. Purchasing And Disposals |issue=PD24 |location=Australia |date=28 June 1989 |accessdate=17 November 2019 |page=874 |via=National Library of Australia}}

The gallery was forced by the economic recession in July 1992 to shut its doors, and on its announcement of closure Luba Bilu, Chair of the Australian Commercial Galleries Association, remarked that "important things had happened at Realities" which helped to establish its reputation for "honesty and integrity."Rebecca Lancashire, 'Realities feels the bite of recession,' in The Age, Wednesday, 8 July 1992. p.16 The building was soldThe Age (Melbourne), 8 July 1992 for $840,000 in November 1992.{{Cite web|url=http://www.showneighbour.com/business.php?ph=0398273312&q=35+Jackson+Street,+Toorak|title=Realities Gallery, ph:0398273312. 35 Jackson Street, Toorak - Australian Business|website=www.showneighbour.com|access-date=2019-11-17}}

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• 1971, 14 May – 5 May: Group exhibition: Jutta Feddersen tapestries; Richard Anuszkiewicz silkscreen prints; Michael McKinnon kinetics; Oiva Toikka glass sculptures{{Cite news |last=Gleeson |first=James |date=12 July 1970 |title=New Shows |pages=106 |work=The Sydney Morning Herald}}
• 1971, 9 June – 3 July: Douglas Annand, Cresside Collette, the Optronic Kinetics group founded 1970 at Tin Sheds at Sydney University and including Bert Flugelman, Jim McDonnell, David Smith
• 1971, from 4 August: Mirka Mora solo show, dolls and drawings
• 1972, 6–29 April: Richard Brecknock (sculptures), Tim Benson (jewellery), West African masks; New Guinea pottery.
• 1972, 31 May – 24 June: Robert Boynes, Helge Larsen, Darani Lewers
• 1972, 28 June – 22 July: Victor Vasarely, Michael McKinnon, Clifford Frith, John Hansen
• 1973, 8 February – 3 March: Drawing exhibition I - Australian artists born before 1930, including "Ringer, 1972" by Russell Drysdale.
• 1973, 7–31 March: Drawing exhibition II - Australian artists born after 1930
• 1973, July: Roger Kemp solo{{Citation | title=ART No easy solutions (7 July 1973) | journal=The Bulletin | date=1973-07-07 | publisher=John Haynes and J.F. Archibald | volume=095 | issue=4861 | issn=0007-4039 }}
• 1973, 24 October – 24 November: Sculpture survey: including small sculptures at Realities and large sculptures at Como Gardens, Como Avenue, South Yarra with 8-page catalogue{{Citation | author1=Realities [gallery] sculpture survey 1973 | title=[Realities [gallery] sculpture survey 1973 : Australian Gallery File] | url=https://trove.nla.gov.au/work/32486210 | accessdate=17 November 2019 }}
• 1973: Grant Mudford
• 1974, April: Mark Strizic, Realities 74, photographs{{Citation | title=Bulletin Briefing ART (13 April 1974) | journal=The Bulletin | date=1974-04-13 | publisher=John Haynes and J.F. Archibald | volume=096 | issue=4901 | issn=0007-4039 }}
• 1974, 2–18 May: Mirka Mora, Erotic Drawings and Figures{{Citation | title=ART (27 April 1974) | journal=The Bulletin | date=1974-04-27 | publisher=John Haynes and J.F. Archibald | volume=096 | issue=4903 | issn=0007-4039 }}
• 1974, from 1 October: Old master drawings, watercolours and prints
• 1974: John Robinson: Paintings and screenprints

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• 1975: Roger Kemp
• 1975, 1 October – 1 November: Sculpture survey: 500 BC - 1973 AD
• 1976: David Aspden
• 1977, 24 February – 23 March: Drawing exhibition, including John Perceval, Noel Counihan, Arthur Boyd, Mirka Mora.
• 1977: John Robinson, Paintings
• 1977: Clifton Pugh
• 1977: Inge KingInge King with Temple gate, Realities Gallery, Melbourne 1977 (photo){{Cite web|url=https://nga.gov.au/obituaries/ingeking.cfm|title=Obituaries|website=nga.gov.au|access-date=2019-11-17}}
• 1977, from 9 August: Paintings by the desert tribes of Central Australia and carvings by the Tiwi tribe of Bathurst and Melville Islands
• 1977, 26 October – 18 November: 19th and 20th century prints from P. & D. Colnaghi, Ltd, London, with 11 page illustrated catalogue
• 1978, 2–29 March: Frank Hodgkinson
• 1978, 4 May – 2 June: Selected fine prints from 1860-1910 from the Impressionist period to the beginning of Art Nouveau, from David Tunick, Inc., New York, USA, with catalogue of 13 pages.
• 1978, from 25 April: Artists' choice at Realities, organised by the Green Hills Foundation Limited with proceeds to Aboriginal education programs conducted by The Foundation.
• 1978, March: Donald Friend{{Citation | author1=Friend, Donald | editor1=Gray, Anne | editor2=Hetherington, Paul| title=The diaries of Donald Friend | date=2001 | publisher=National Library of Australia | isbn=978-0-642-10738-1 }}
• 1978: Baldessin Memorial Exhibition
• 1978, 5–28 October: Exhibition of old master drawings, watercolours and prints from Thos. Agnew & Sons Ltd., London
• 1979, April: Noel Counihan{{Citation | title=BATMAN'S MELBOURNE Passionate paintings by an old commo (24 April 1979) | journal=The Bulletin | date=1979-04-24 | publisher=John Haynes and J.F. Archibald | volume=100 | issue=5157 | issn=0007-4039 }}
• 1979: Clarice Beckett Retrospective
• 1979, 28 June – 21 July: Selected modern prints from 1905-1955 from David Tunick, Inc., New York, USA.
• 1979, 9 August – 15 September: Pre-Columban art of Mexico
• 1979: Asher Bilu Infinities{{Cite web|title=1979 Exhibition: INFINITIES|url=http://asherbilu.com/exhibitions/1979-exhibition-infinities/|access-date=2020-08-23|website=Asher Bilu|language=en-AU}}
• 1979, Klaus Zimmer: Realities Gallery window installation

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• 1980, 6 May – 14 June: Group exhibition with Rick Amor, Asher Bilu, Robert Boynes, Noel Counihan, Frank Hodgkinson, Gil Jamieson, Roger Kemp, Sandra Leveson, John Money, Ross Moore, Mirka Mora, Trevor Nickolls, Clifton Pugh, John Roninson, Andrew Sibley, Edwin Tanner, Robin Wallace-Crabbe, John Wolseley.
• 1980, from 24 November: Aboriginal bark paintings, Tiwi poles and carvings and Yirrkala carvings, including "Mimi spirits and Namorodo spirits" by George Djayhngurru, Oenpelli and "Bima and Waijai bird" by Paddy Henry Tiempi, Bathurst Island.
• 1980: Mike Green
• 1981: Leigh Weiner photographs
• 1981: David Aspden
• 1981: Clifton Pugh and Frank Hodgkinson. Arnhem Land series.
• 1981, from 1 December: Summer exhibition. John Money, John Wolseley, Mirka Mora, Inge King, John Robinson, Gareth Sansom, Colin Lanceley, Brian Dunlop, Frank Hodgkinson, Roger Kemp, Noel Counihan, Brett Whiteley.
• 1982, 1–26 March: Lloyd Rees
• 1982: Gareth Sansom
• 1982, June–July: Anthony Pryor
• 1982: John Robinson, Paintings{{Citation | title=Artist mindful of perceptions.(News) | journal=The Age (Melbourne, Australia) | date=2009-05-08 | publisher=Fairfax Media Publications Pty Limited | pages=12 | issn=0312-6307 }}
• 1982: David Aspden
• 1983: Print exhibition with "The Bodford Terrace Folio" by various print makers, John Brack, Noel Counihan (Images of Opoul), John Courier, Jeffrey Makin, Colin Lanceley, John Money, Brian Dunlop, Leonard French, Frank Hodgkinson, Robert Jacks, Roger Kemp, Les Kossatz, Jan Senbergs, John Olsen, Andrew Sibley, Lloyd Rees (New lithographs 1982), John Robinson, Andrew Southal, Fred Williams.
• 1983: Garet Sansom
• 1983: David Aspden
• 1983: Jon Cattapan, Paintings, Constructions And Works On Paper{{Cite web|url=https://www.artlink.com.au/articles/3148/jon-cattapan-possible-histories/|title=Jon Cattapan: possible histories|website=Artlink Magazine|language=en|access-date=2019-11-17}}
• 1984: Jeffrey Makin, Ash Wednesday series
• 1984: John Robinson, Paintings, Drawings
• 1984: Selected Works
• 1984 Terry Matassoni: Recent Paintings
• 1985: Mike Green
• 1985: Kerry Gregan{{Cite web|url=https://www.bettgallery.com.au/artists/gregan/cv.html|title=Bett Gallery Hobart - Kerry Gregan|website=www.bettgallery.com.au|access-date=2019-11-17}}
• 1985: John BeardCatalano, Gary, Solo Exhibition-Realities Gallery, Melbourne, The AGE, Review, 4 December 1985.
• 1985: Realities Salutes, Prints by Australian Artists
• 1985: Roar Studios artists, Raw Reality{{Cite web|url=http://www.antheapolsonart.com.au/artist-details.php?artistID=78|title=© David Larwill Curriculum Vitae - Anthea Polson Art|website=www.antheapolsonart.com.au|access-date=2019-11-17}}
• 1986: Joyce Evans, But I Know What I Like, photographs
• 1986: Terry Matassoni: Paintings and Gouaches
• 1986: David Aspden
• 1986: Kerry Gregan
• 1986: John Robinson, Paintings, Drawings
• 1987, September–October: Anthony Pryor
• 1987: Kerry Gregan
• 1987, November: Bill Henson: Untitled 1985-86{{Citation | title=Henson reframes the past.(Life & Style) | journal=The Age (Melbourne, Australia) | date=2013-11-23 | publisher=Fairfax Media Publications Pty Limited | pages=20 | issn=0312-6307 }}
• 1988, 3–21 December: Selected original prints exhibition by Noel Counihan, John Brack, Fred Williams, Roger Kemp.
• 1988, 10 June – 7 July: Group exhibition
• 1988: Rachel Rovay, Once Upon a Time
• 1988, October–November: Paul Partos, Calendar Paintings
• 1988: Mike Green
• 1988: David Aspden
• 1989: Terry Matassoni: Paintings and Works on Paper
• 1989: John Robinson, Paintings, Lithographs
• 1989: Jeffrey Makin
• 1989: Bill Henson, Untitled 1987-88
• 1990: Terry Matassoni: Works on Paper
• 1990: Peter Horak
• 1990, September: Anthony Pryor
• 1990, October: John Beard
• 1991: Terry Matassoni: Recent Work
• 1991: John Robinson, Survey Exhibition 1979 - 1991
• 1991: 17 August – 5 September: Jennifer Marshall, paintings{{Cite web|url=http://www.printsandprintmaking.gov.au/works/21937/|title=Jennifer Marshall paintings realities. 35 Jackson St Toorak, 17 August - September 5th 1991 and|website= Prints and Printmaking|language=en|access-date=2019-11-17}}
• 1991: Bill Henson, Paris Opera Project
• 1991, November: Anthony Pryor
• 1991: Jeffrey Makin{{Citation | author1=Makin, Jeffrey | author2=Olsen, John | author3=Zimmer, Jenny | author4=Heathcote, Christopher | title=Australia Felix : landscapes | date=2002 | publisher=Macmillan Art Publishing | isbn=978-1-876832-96-4 }}
• 1992, 7–26 March Selected prints exhibition.
• 1992: Kerry Gregan
• 1992, 12–27 June: A tribute to Anthony Pryor
• 1992: Terry Matassoni: Recent Work’

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{{reflist}}

Category:Modern art museums

Category:Art museums and galleries in Melbourne

Category:1971 establishments in Australia

Category:1992 disestablishments in Australia

Category:Art museums and galleries established in 1971

Category:Art museums and galleries disestablished in 1992

Category:History of Melbourne

Category:Australian art

Category:Indigenous Australian artists