One of three annual fundraising shows, Queer Heirlooms at Unassigned Gallery is also their third annual collaborative exhibition with Queer Love Collective. This year, featuring 100 artists on the dot, the exhibition explores memory and heritage, looking at what meaning we make and how we pass it on. The exhibition spans about every art form you can imagine – including the written word and medieval weapons made out of fabric – contains multitudes in how expansively “heirloom” was interpreted. The more I explored the exhibition, both on opening night and on a more relaxed weekday return, the grouping of works by loose theme seemed to pop out. There were explorations of kink, of queer labelling, sexual exploration, online worlds, fandom, and queer history among many others. In an open call exhibition, the breadth of work and skill is bound to vary, but three categories - photography, fibre arts, and the proliferation of renaissance adjacent imagery - stood out above the crowd.

If you read my writing on Held, Altered at No Vacancy a couple weeks ago, you’ll know I had tried to go to Bus Projects, but the world was truly against me getting there. Maybe I should have taken that as a sign, but alas I tried again this week, and actually managed to make it in to see us as stars, as horses. Featuring work by Sophie Coe, the show is a collaboration with Kamilaroi curator Tabitha Glanville.