she has had one painting on the go for two years. A major survey exhibition of her work entitled Vivienne Binns: On and through the Surface opened at MUMA (Monash University Museum of Art) on 5 February 2022, finishing up there in April and starting a run at the Museum of Contemporary Art Australia in Sydney in July. The exhibition includes more than 100 works, including prints, sculpture and drawing as well as her earliest paintings. Art practice Binns has worked across many media, including painting, printmaking, performance, sculpture and drawing. Her diverse range of artistic engagements has resulted in her being well respected amongst her Australian and global contemporaries, particularly within the feminist community. Painting Throughout the span of her practice, Binns has developed a strong reputation for her prolific approach to painting. Her first solo exhibition Vivienne Binns: Paintings and Constructions, was held in 1967 at Watters Gallery in Sydney. Including notable works such as Vag Dens and Phallic Monument, this exhibition has been recognised as a key starting point for the development of feminist art in Australia. This exhibition was one of the first of its kind, predating Judy Chicago's The Dinner Party and "critically affirming the power of women's sexuality whilst also provoking... a good measure of castration anxiety amongst the patriarchy". Through decades of experimentation with colour and form, Binns has conceptually explored ideas ranging from feminism to colonial critique within her painting practice. Binns utilises abstraction as a way to communicate complex ideas and make them accessible to a broader audience. Women's Art Movement Alongside feminist contemporaries such as Barbara Hall, Frances Phoenix (nee Budden), Beverly Garlick, Jude Adams and Toni Robertson, Binns was at the forefront of the development of The Women's Art Movement (WAM) in Sydney, Beginning in 1973 and inspired by Linda Nochlin’s essay "Why Have There Been No Great Women Artists?", WAM aimed to address discrimination and sexism within the art world through various actions and exhibitions. Binns was a founding member in 1974. WAM was particularly dedicated to the documentation of women's artwork through the development of the Women's Art Register. Feminism and the Women's Art Movement serves as a political undercurrent for much of Binns practice: Community art Binns was a prominent figure in the development of community arts in Australia. In 1972 she collaborated with Mike Morris and Tim Burns on The Artsmobile, a travelling community arts