Agnes Martin <em>Untitled #16</em> 1995. National Gallery of Victoria, Melbourne. Proposed acquisition © Agnes Martin. ARS/Copyright Agency, 2026

2026 NGV Annual Appeal

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2026 NGV Annual Appeal

“When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye it is in the mind. In our minds there is awareness of perfection.”

– Agnes Martin

Message from the Director

The NGV invites you to play a vital role in shaping the future of our Collection by supporting the acquisition of Untitled #16, 1995 by American artist Agnes Martin.

Agnes Martin is regarded as a leading artist of the twentieth and twenty-first centuries. Internationally recognised from the 1960s until her passing in 2004, Martin’s unique vision of the world, and the power of art, has inspired generations of artists and audiences alike.

Painted in the final, luminous chapter of her career, at the height of her recognition, Untitled #16 belongs to a series of delicately coloured and finely textured canvases that echo the feeling of panoramic desert vistas and seemingly endless skies, such as those of Martin’s home of New Mexico. Through serenely painted bands of colour and a meditative touch, Untitled #16 exemplifies Martin’s pioneering approach to painting. She believed art had the power to awaken viewers to a transcendent experience of beauty – a state in which a person feels connected to the world in a deeper way.

Untitled #16 represents an important moment for the NGV, with the opportunity to celebrate the work of Agnes Martin joining the NGV Collection for the first time. We hope you will consider joining us to share with our visitors a work that invites them to pause, look a little longer and appreciate the beauty in small gestures.

Tony Ellwood AM
Director, NGV

About the artist

Agnes Martin’s explorations of beauty, meditation and emotion were enduring themes in her life and art. Born in rural Canada in 1912, Martin migrated to the United States at the age of twenty. She developed an interest in art during her studies in Washington, New York and in New Mexico, igniting a lifelong relationship between the artist and this vast region in the southwestern United States.

In 1957, Agnes Martin moved to New York and took up residence in Coenties Slip in Lower Manhattan, a run-down waterfront district offering cheap studio lofts in former industrial buildings. There she lived alongside and developed friendships with younger artists including Ellsworth Kelly and Robert Indiana, while the leading abstractionists Barnett Newman, Mark Rothko and Ad Reinhardt were inspiration for her artistic pursuits. Contrasting the energy of this period of artistic revolution, Martin’s longtime interest in Zen Buddhism and Taoism also deeply influenced her unique approach to making art, such as her heightened sensitivity to nature.

In pursuit of solitude, Martin left New York in 1967 and travelled across the United States and Canada before ultimately settling in New Mexico, following in the path of artists such as Georgia O’Keeffe. There she took up her work again in 1974 with a focus and discipline that allowed her to continue producing highly distinctive and visionary paintings. In her mature career, Martin maintained an extraordinary output, working consistently on representing her unique vision of the world through her art, until her death in 2004.

About the work

Praising the American artist Mark Rothko for having ‘reached zero so that nothing could stand in the way of truth’, across almost six decades of artistic practice, Agnes Martin evolved her own approach to artmaking, a core tenet of which was a strict adherence to abstraction. Influenced by her study of the ancient Taoist writings of Laozi and Zhuang Zhou, she also sought to eliminate personal ego from her art, inviting audiences to seek spirituality and the sublime through contemplation of the quiet perfection of her self-effacing, pared back canvases.

In Untitled #16 alternating bands of gentle dusky pink and pale blue evoke the light, colour and texture of the vast desert skies and architecture of the American Southwest. Contrasting the painting’s abstract qualities, areas where Martin’s brushstrokes have been more heavily applied echo the pinkish mud plaster facades of the adobe homes in Martin’s beloved New Mexico.

The soft and muted colours of Untitled #16 are indicative of Agnes Martin’s mature period, belonging to the final decade of her career. The surfaces of these works appear to expand and contract, as though breathing. Viewers are invited to stop, slow down and quietly breathe, and take in Martin’s uplifting vision of personal meaning and happiness, achieved though abstraction.

Strengthening the Collection

“Collections are shaped by the artists who share their inspiration and vision, and the audiences who bring artworks to life. Your support makes it possible to acquire important works that enhance the NGV Collection for all to enjoy and discover into the future.”

Donna McColm
Assistant Director, Curatorial and Audience Engagement

DONATE TODAY

We warmly welcome donations of any amount and thank you for your support to ensure this work will remain in the NGV Collection for visitors to enjoy now and into the future.

All donations of $2 or over are tax deductible.

If you are interested in making a significant gift to this campaign, please contact the NGV Foundation on +61 (0)3 8620 2415 or via our online form.

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