On a brisk November morning in Washington, DC, the doors of the National Gallery of Art swung open to reveal a dazzling spectacle: The Stars We Do Not See, the largest exhibition of Indigenous Australian art ever to be shown overseas. After weeks of uncertainty and a cancelled grand opening, the show is finally drawing crowds eager to experience a form of artistry rarely seen in the United States.
Drawn from the National Gallery of Victoria’s (NGV) extensive collection, the exhibition features nearly 200 pieces by more than 130 artists. These works, many of which have never before left Australia, represent a sweeping journey across the continent—from the lush landscapes of Arnhem Land and the Tiwi Islands north of Darwin, to the rugged expanses of South Australia’s Indulkana and the remote Punmu community, some 600 kilometers from Port Hedland. According to the National Gallery of Art, the diversity of regions represented is matched only by the variety of artistic voices on display.
The exhibition’s title pays tribute to the late Gulumbu Yunupingu, affectionately known as the "Star Lady," whose ethereal stringybark paintings are among the show’s highlights. Myles Russell-Cook, former senior curator at the NGV and now artistic director and chief executive of the Australian Centre for Contemporary Art, curated the collection. "Never before has a volume of works of this size and national significance toured internationally," NGV director Tony Ellwood remarked, underscoring the momentous nature of the event.
Visitors to the gallery are greeted by an array of works that blend tradition and innovation. Among the most striking is a massive three-by-five-metre painting of the salt lake Ngayarta Kujarra (Lake Dora) in Western Australia, collaboratively created by 12 Punmu women from three generations. The artwork, with its sweeping lines and vibrant hues, is a testament to both the enduring legacy and evolving practices of Indigenous art. NGA director Kaywin Feldman shared her personal connection to the piece, recalling, "This painting always catches me because I remember being in this small plane flying to Alice Springs from Uluru and going over salt pans. It’s a very visceral picture for me."
But the exhibition is not just about honoring the past. Alongside traditional pieces, visitors will find contemporary and urban interpretations that reflect the dynamism of Indigenous culture today. Six painted skateboards by young Brisbane/Meanjin artist Claudia Moodoonuthi sit alongside a whimsically painted road sign titled Seven Sisters Song by Indulkana artist Kaylene Whiskey. This playful work, featuring iconic American singers like Cher, Tina Turner, and Dolly Parton, as well as Wonder Woman, brings a burst of color and humor to the show. "It’s also fun for an American audience because they’re all American," Feldman quipped, noting the cross-cultural resonance.
The historical significance of the exhibition is further underscored by rare artifacts such as the 1875 Notebook of Mr Roderick Kilborn, a collection of pen and ink sketches by 19th-century Kwat Kwat artist Tommy McRae. The notebook, acquired by the NGV in 2001, is one of only two surviving sketchbooks by McRae and offers a unique window into the artistic and social exchanges of colonial Australia. McRae’s relationship with Kilborn, a Canadian-born telegraph master, was pivotal—Kilborn became his chief patron and supporter, commissioning drawings and documenting McRae’s life in the Corowa Free Press.
The journey to bring The Stars We Do Not See to Washington was anything but smooth. The project, six years in the making, was repeatedly delayed by the COVID-19 pandemic. Just as the team prepared for a grand opening in mid-October 2025, a record-breaking 43-day US government shutdown forced the gallery doors to remain closed. According to the National Gallery of Art, half a dozen couriers from Melbourne spent about a month installing the artworks, only to see their efforts put on hold as the collection sat idle for another month. For Feldman and her team, the experience was a test of patience and perseverance. "It’s been a really joyful partnership," she reflected, emphasizing the sense of accomplishment felt by all involved.
Despite these setbacks, the exhibition has become a magnet for visitors from across the region. Retired art history teacher Judith Gregory traveled from Wilmington, Delaware, to see the show. "When I read about this I just wanted to see it," she told reporters. "It just has a whole other element to it that I’m sure I don’t understand, but it seems to be very spiritual and very organic. I just think visually it’s incredibly exciting." Her reaction echoes that of many Americans, for whom Indigenous Australian art remains a revelation.
The exhibition is more than a display of beautiful objects—it’s a cultural exchange of rare scope. After its Washington run, which lasts until early March 2026, the show will travel to the Denver Art Museum in Colorado, the Portland Art Museum in Oregon, and the Peabody Essex Museum in Massachusetts. In a reciprocal gesture, the NGA will send a showcase of major works from its contemporary American art collection to the NGV in Australia in 2027. This exchange, according to Feldman, is part of a broader effort to foster global dialogue and understanding through art.
There’s also a sense that the timing of the exhibition couldn’t be more apt. Interest in Indigenous art is surging—not just in Australia, but around the world. The NGA’s decision earlier this year to appoint its first curator of Native American art is a sign of this growing recognition. As Feldman noted, "The project was partly driven by growing interest in Aboriginal Australian art in the US and around the world." The exhibition, then, is both a celebration and a call to deepen our appreciation of Indigenous voices and visions.
For many, The Stars We Do Not See offers a chance to encounter stories, symbols, and perspectives that have long been overlooked or misunderstood. It’s an invitation to see the world anew—through the eyes of artists whose connections to land, ancestry, and community run deep. And as the crowds in Washington can attest, it’s an invitation that’s being eagerly accepted.
As the exhibition prepares to embark on its national tour, the hope is that its impact will ripple far beyond gallery walls, inspiring new conversations and connections wherever it goes.