Through works that embrace a similar logic, Me, Also Me considers how artists employ tropes of mirroring and repetition, anecdotes and alter egos, imitation and transformation to map the contours of uncannily labile selves.

The videos Delivery Dancer’s Sphere, 2022, by Ayoung Kim and Invisible Touch, 2024, by Daisuke Kosugi delve into personal and political questions about the boundaries between reality and fiction. By focusing on moments and sensations of uncertainty and ambiguity they reveal how accounts and experiences of specific situations can either diverge or remain unclear.

These works are positioned in conversation with Brett Whiteley’s major painting installation The American Dream, 1968–69, a work that deals with the late Australian artist’s increasing state of frustration in relation to the disconnect between America’s rhetoric of freedom and opportunity, and the realities of the nation’s domestic and international politics at the time of the civil rights movement, 1954–68, and the Vietnam War, 1955–75.

Drawn from AGWA’s collection, including several new acquisitions, the exhibition features the work of Farah Al Qasimi, David Attwood, Pat Brassington, Candice Breitz, Ian Burn, Consuelo Cavaniglia, Mutlu Çerkez, Anne Ferran, Hilarie Mais, Linda Marrinon, Yasumasa Morimura, Tracey Moffatt, Maria Taniguchi and a painting by Rick Vermey on loan from the Holmes a Court Collection.