Art on Paper Fair, Cinders Gallery, Pier 36, New York, NY, March 8—11, 2018

Art Papers 19th Annual Art Auction, Atlanta, GA, February 24, 2018

Uproot, Smack Mellon, Brooklyn, NY, November 18—December 24, 2017

Mirror Lamp Hammer, Paris London Hong Kong, Chicago, IL, November 4—December 23, 2017

Something, Minerva, Sydney, August 19—September 28, 2017

Spring 1883, The Establishment, Sydney, September 6—9, 2017

Not Even featured on

Not Even, Good Enough, Atlanta, GA, May 26—June 18, 2017

Avi Alpert, “Back to the World Itself: Photography as Exposition with a Postcript on the Politics of Art Criticism after the US Election,” Temporary Art Review, June 2

Danny Olda, Anthea Behm: Mirror Lamp Hammer, Delicious Line, May 2

Caitlin Albritton, “Bring the hammer: Anthea Behm at Cunsthaus,” Creative Loafing, April 19, 2017

Mirror Lamp Hammer, Cunsthaus, Tampa, FL, April 15—May 27, 2017

White Columns Curated Artist Registry


Nasty Women, The Knockdown Center, Queens, NY

Fisher’s Ghost Award, Campbeltown Arts Centre, Campbeltown, Australia, October 29—December 15, 2016

Fountainhead Residency, Miami, FL, October 1—November 21, 2016

Spring 1883, Minerva, The Windsor Hotel, Melbourne, Australia, August 17—21, 2016

Jessie French, “Worth Their Weight in Gold: Young Australian Artists to Invest in Right Now,” I-D Magazine, July 8, 2016

The Invitational, Boca Raton Museum of Art, Boca Raton, FL, July 17—September 25, 2106

PDF/Objectscurated by Jason Lazarus and Sean Ward, Mana Contemporary. Chicago, IL, June 18—October 1, 2016

2016 Orlando Museum of Art Florida Prize in Contemporary Art, Orlando Museum of Art, Orlando, FL, May 13—August 14, 2016

Affect and Exchange, curated by Benison Kilby, Kings ARI, Melbourne, Australia, May 7—28, 2016

Objective Confess, Minerva, Sydney, Australia, April 29—June 11, 2016

“Frame/Work, Frozen/Intensities, curated by Mark Jeffrey, Chicago Performance Biennial, School of the Art Institute of Chicago, January 8, 2016

Abstraction Is the New Concrete Is the New Abstraction, Art After the Future: Hito Steyerl and the Global Digital Image, Art Association of Australia and New Zealand Conference 2015: Image Space Body, Queensland Art Gallery | Gallery of Modern Art, Brisbane Australia, 25 November, 2015

A Painting Is A Painting Isn’t A Paintingcurated by Hamza Walker, The Kadist Foundation, San Francisco, CA, September 24—October 31, 2015

Spring 1883, Minerva, The Establishment, Sydney, Australia September 9—12, 2015

Titled, Ideas Platform, Artspace, Sydney, Australia, August 19—28, 2015

Artist Lecture & Conversation with Dr. Kit Messham-Muir (Senior Lecturer, Newcastle University), Artspace, Sydney, Australia, August 19, 2015

Casual Conversation, Verging on Harassment, Minerva, Sydney, Australia, August 15—September 19, 2015

Catalogue for Stream released, published by Two Chairs

Artist in Residence, Artspace, Sydney, May—August, 2015

Luck of the Draw, Diverseworks, Houston, May 14, 2015

Screening of Adorno/Bueller, Discourse in New Media, curated by Rodrigo Valenzuela, The Frye Art Museum, Seattle, WA, April 26, 2015

Visiting Artist Lecture, Columbus College of Art and Design, Columbus, OH, April 9, 2015

Review of RESPOND by Holland Cotter, The New York Times, January 22, 2015

RESPOND, Smack Mellon, New York, NY, January 17—February 22, 2015

Do It (Adelaide), commissioned contribution to accompanying publication, Samstag Museum of Art, Adelaide, Australia

SKOWPerforms, Socrates Sculpture Park, Queens, NY, September 28, 2014

Stream curated by Two Chairs and C. Bass International Fine Arts, public installation, South Windham, VT

New Work Grant recipient, Australia Council for the Arts, 2014

Vox X: Present Tense, curated by Matthew Brannon and Howie Chen, Vox Populi, Philadelphia, PA, July 11—August 1, 2014

Installation of Adorno/Bueller, as part of Vox X: Present Tense, Fourth Wall, Vox Populi, Philadelphia, PA, July 11—August 1, 2014

Skowhegan School of Painting and Sculpture, ME, July—August, 2014

The Disappearance Screening Program, “Margins of the Exhibition,” curated by David Teh, Centre for Contemporary Art, Singapore, April 6, 2014