'TRACE: Displayed (Post-Colonial-Cluster-Fuck)' TRACE Collective @ Artspace

Nobody knows what we are doing, we don't know what we are doing, nobody cares.

'Australian Minescapes' Edward Burtynsky @ Australian Centre for Photography

The photographer is actually producing a painting - the roads acting like brush strokes and the earth filling in the spaces with appropriately matching colors. The mines, though, allude to a different discipline; displayed in clear view they require the same study like skin wounds in a medicine book.

SANAA @ Sherman Contemporary Art Foundation

A maze of invisible walls; this is where we are. We try to find each other, wondering around the curves, the ghost doors. Our images are distorted through the layers of space between us. It's just air that prevents us from touching each other.

'Perspective cutouts' Paul Selwood @ Tin Sheds Gallery

It's amazing how easy the eye gets tricked in seeing things that are not there. And how easily the mind gets entertained with a play of dimensions. These works produce instant, universal, primitive awe. They are like a rainbow.

John Brack @ National Gallery of Victoria

Take each thing as what it is, the mirror, the flowers, the dancers, the sequence of a man's life, of all humanity, devoid of irony, and try to find meaning. This is the nothing that holds everything. This is Australia.

Tacita Dean @ ACCA

Yes, mister Alain de Botton, one does not have to go out of one's house to travel. There's always something new to see inside one's house, one's head.

'Hatsu-Yume (First Dream)' Bill Viola @ Ivan Dougherty Gallery

Ingredients for the great big cake of things: mix water, fire, and stone, in a bowl with spirits from the other world, and stir it with light. Then pour it into the spaces between life and death, and bake for eternity. Tape it.

'What are they doing here?' Cao Fei @ Art Gallery of NSW

Things 'Made in China' carry more than just an attractive price; they are packed with stories and lives from the otherness, or the unknown. This story uses a more universal language, and at times, it resonates like a morning stare at your bathroom mirror.

Peter Robinson @ Artspace

A mysterious cube; an abandoned salt lake, a piece of the sky, a sniff for a giant nostril. The list goes on, but not for long. In the end, it's light, empty, and useless and fades quickly like an image during a regular commute to work.

'Archive' Michael Cusack @ Martin Browne Fine Art

The paintings live in one of those white minimalist apartments, somewhere in the Upper East Side. During the 70s. They gather things of different shapes and sensibilities and place them together according to eastern philosophic traditions. They look balanced, but their lives are a complete mess.

'Collage' Michael Taylor @ Gallery 9

The paintings have been shipped from last century, sometime in the mid-50s. The years of memories and unfortunate choices weight down the interesting bits. It's not a pretty sight, and it's not meant to be. The big canvases in the last room have something better to say.