We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of New South Wales stands.

Collection management policy

1. Summary

The Art Gallery of New South Wales developed out of the New South Wales Academy of Art, established in Sydney on 24 April 1871. It was firmly founded on 19th-century ideals of public education and cultural enrichment. Today the Gallery has a rich and varied collection, encompassing Australian and international art. The Gallery and its functions are determined by the Art Gallery of New South Wales Act 1980. The principal objectives of the Art Gallery of New South Wales Trust, outlined in section 7 of the Act, are to develop and maintain a collection of works of art and to propagate and increase the knowledge and appreciation of art. The professional care and management of works of art is fundamental to realising these objectives. The Gallery will manage its collection and works of art held in its custody in a manner that balances the long-term preservation of individual works and the collection overall with accessibility for present and future generations.

Stewardship of the collection is informed by professional knowledge, research and expertise. The Gallery is committed to managing the collection and works in its care in a manner that maintains and furthers its reputation for excellence and integrity by the general public and in museum communities, both nationally and internationally. This policy sets out the principles the Gallery will adopt and factors it will consider when caring for, documenting and making accessible the works in its collection and care.

2. Authority

This policy is established by the director and approved by the Board of Trustees pursuant to the Act.

3. Objective

The objectives of this policy are to ensure that the Gallery:
a. manages and safeguards the collection while ensuring its accessibility for present and future generations
b. maintains its standing and reputation for integrity and excellence with the general public and in the museum community, both nationally and internationally.
These objectives are to be achieved by ensuring that the Gallery:
a. applies the principles of risk mitigation and management in caring for its collection and making it accessible to the public
b. demonstrates and contributes to research to inform industry best practice in the care and management of its collection and works in its care
c. avoids any act or omission that compromises the Gallery’s position and reputation for integrity in public administration.

4. Application

This policy applies to all activities relating to the management and care of the collection and works of art in the Gallery’s custody.

5. Definitions

In this policy:

  • Aboriginal or Torres Strait Islander art means artwork by an Aboriginal or Torres Strait Islander artist or containing Aboriginal or Torres Strait Islander themes or content. Aboriginal and Torres Strait Islander art is defined in accordance with the Aboriginal and Torres Strait Islander Engagement Policy.

  • Accession means the process undertaken that formally acknowledges an artwork or archive to be part of the collection.

  • Acquisition means the process of obtaining valid title to an artwork or archive, in accordance with the Art Acquisitions Policy.

  • Acquisitions and Loans Committee means the Board of Trustees sub-committee established to review and confirm the acquisition of artworks or archives and the deaccessioning of artworks or archives from the collection, as well as reviewing and approving requests for outgoing loans and long-term incoming loans from the collection in accordance with the Art Gallery of New South Wales Trust – Acquisitions and Loans Committee Charter.

  • Act means the Art Gallery of New South Wales Act 1980.

  • Collection means works of art in various media that are Gallery property and have been formally accessioned. The collection also includes other material acquired and accessioned by the Gallery for the purpose of research and enhancement of the collection, including the National Art Archive and study collection.

  • National Art Archive collection means the sum of the institutional archive and the collected archives held by the Art Gallery of New South Wales.

  • Study collection comprises works of art designated for the purpose of study or research that support or relate to works of art or artists in the collection. The study collection is a sub-category of the collection and works are accessioned.

  • Born-digital means works created in a digital format.

  • Conservation is the care of cultural material. Conservation activities, according to the AICCM Code of Ethics and Practice, may include ‘preservation, restoration, examination, documentation, digitisation, research, advice, treatment, preventive conservation, training and education’. All measures and actions should respect the significance and ‘physical, historical, aesthetic and cultural integrity of the object’.

  • Digital collection storage means storage that meets preservation requirements by maintaining onsite and offsite backup copies and periodic refreshment by copying files to new storage media.

  • Digital preservation means a series of managed activities, policies, strategies and actions to ensure the ongoing accessibility, authenticity and integrity of digital collections, regardless of the challenges of media failure and technological change.

  • Digitisation means the process of converting information into a format by photographing, scanning or otherwise converting analogue materials for access and preservation reasons.

  • Director means the director of the Art Gallery of New South Wales.

  • Gallery means the Art Gallery of New South Wales.

  • Preventive conservation according to the AICCM code of Ethics and Practice means ‘action taken to retard or prevent deterioration of or damage to cultural material by control of its environment. This is done through the formulation and implementation of policies and procedures for the following: appropriate environmental conditions; handling and maintenance procedures for storage, exhibition, packing, transport and use; integrated pest management; emergency preparedness and response; and reformatting/duplication’. It includes appropriate collection storage for various media, based on accepted industry standards.

  • Restoration according to the AICCM Code of Ethics and Practice means ‘the treatment of cultural property through minimal intervention to enhance its interpretation. Restoration may involve the reassembly of displaced components, removal of extraneous matter, or re-integration using new materials’.

  • Trusted digital repository is an overarching term for all the activities that surround the storage and preservation of digital collections, including organisational structure, governance, staffing, procedural accountability, policy framework, financial sustainability, information and access management, technical infrastructure and risk management.

6. Policy

6.1 Principles

The Gallery will manage its collection in a manner that balances the long-term preservation and integrity of individual works and the collection overall with accessibility for present and future generations. This approach reflects the principal objectives of the Gallery, defined in the Act, to develop and maintain a collection of works of art and to propagate and increase knowledge and appreciation of art.

The Gallery will ensure the collection and works in its care are managed on terms that are ethical, sustainable and visible to public scrutiny and will maintain the Gallery’s standing and reputation for excellence by the general public and in the museum community, both nationally and internationally.

The Gallery is committed to facilitating and supporting a sound understanding of collection management principles among those who work with and around artworks. The Gallery recognises this as a fundamental strategy in managing risks to the collection. The Gallery and its staff will be informed by its collection and contribute to contemporary research and thinking about collection management.

6.2 Education and advocacy

The Gallery will ensure staff have appropriate training in and understanding of collection management principles to ensure the effective stewardship of the collection.

The Gallery is committed to fostering and promoting expertise in the following areas:
a. principles and practices of preventive conservation
b. documentation and management procedures associated with relevant collection areas
c. cataloguing procedures
d. use of the collection management system
e. caring for all items in the collection, including currently known and later invented media
f. digital collection management, conservation and storage.

The Gallery encourages its staff to actively engage and participate in current research, analysis and debate regarding industry standards and practices for collection management.

The Gallery will advocate for the care of the collection and works in its custody by ensuring professional collection management and conservation expertise and advice is available to staff. The Gallery is also committed to advocating for the care of art and cultural heritage through the provision of training and education for artists, students, other museum professionals and the public. The Gallery will promote the value of conservation and collection care including preventive conservation, documentation, technical art history, interpretation of artworks and artistic practice. Training and education is provided in multiple ways, including, but not limited to, talks, lectures, internships, tours, workshops, information on the Gallery’s website, conference papers, journal articles and through other publications or forums, as appropriate.

6.3 Caring for the collection

While the care of artworks and cultural heritage is paramount, current best practice in collection care seeks to reconcile the desirability of long-term preservation of collections with the need to reduce energy use and the carbon footprint of museums. In this context, sustainability should be taken into consideration when making decisions associated with caring for the collection.

6.3.1 Preventive conservation

The Gallery is committed to the practice of preventive conservation to proactively mitigate and manage the risks of deterioration to objects in its collection and care. To achieve this, the Gallery employs a number of core strategies regarding the condition assessment, storage, handling, packing and transportation, display and security of items. In addition, the Gallery will ensure the management of facilities in accordance with sound and sustainable environmental controls, and the development and implementation of disaster and emergency planning and response strategies.

The Gallery recognises that some collection works may not be able to be preserved for the long-term due to the artist’s intention, or the inherent nature or material composition of the items. The Gallery recognises and is committed to upholding artists’ moral rights and the management, documentation and conservation strategies employed in relation to such works will be considered on a case-by-case basis. Environmental control

Environmental conditions are managed in accordance with best-practice standards that address the need to reconcile the desirability of long-term preservation of the collection with the need to reduce energy use and the carbon footprint of museums. This is undertaken in order to reduce the risk of damage to works in the Gallery’s custody through fluctuations in temperature and relative humidity and through the introduction of pollutants. The Gallery will ensure its approach to managing environmental controls is informed by current research and standards. In accordance with its commitment to education and advocacy, the Gallery will ensure it remains informed of and actively contributes to current investigation, analysis and debate regarding optimal and sustainable conditions for the preservation of cultural collections. Exhibition lighting

Lighting levels for viewing and display require a balance between the best visibility of works and minimising risk through light damage which may cause colour change, fading and the embrittlement of media and supports. The Gallery will remain informed about contemporary conservation research and standards regarding light exposure and ensure decisions about lighting incorporate consideration of the immediate display requirements and the long-term preservation and viability of the work. Integrated pest management

Utilising a holistic approach to mitigating risks, removing pests when identified and addressing the cause or point of ingress, the Gallery’s Integrated Pest Management Procedures and Flowers, Plants and Organic Materials Procedures are aimed at reducing the possibility of pest presence in all areas in which artworks and archives are housed, stored or displayed.

In accordance with its commitment to integrated pest management, compliance with legislative requirements and the sound management of works in its collection and care, the Gallery is permitted to manage biosecurity risks under the Department of Agriculture, Water and the Environment’s approved arrangement requirements.
The Gallery will employ sustainable pest management practices, including the use of non-toxic fumigation techniques, wherever practicable. Installation and de-installation of works

The Gallery will ensure that the installation and de-installation of artworks and archives is planned, scheduled and coordinated in order to identify and manage risks to both people and works and to ensure the sustainable use of resources. Display

In the design and implementation of display techniques, the Gallery will take into consideration the safety of the work and the public, the artist’s display requirements and the audience experience of the work. Where relevant, the artist/s or artist representative will be consulted to ensure the accurate display of their work. Display methods will reflect current industry standards in exhibition design, conservation and materials research. Storage

The Gallery will maintain physical and digital collection storage. Physical collection storage areas will be maintained in accordance with sound and considered environmental control standards, utilising appropriate storage materials, furniture, systems and supports, storage layout, cleaning and maintenance schedules, and traffic management practices in order to minimise risks to the collection and works in the Gallery’s care.

Digital collection storage must meet preservation requirements, which includes establishing a trusted digital repository that meets the recommended guidelines of the Consultative Committee for Space Data Systems (CCSDS). Refer to the Digital Preservation Policy for further information. Object handling

The Gallery will manage risks by ensuring considered planning of all artwork and archive movements and the exercise of minimal and careful handling using appropriate equipment and techniques suitable to each material. The Gallery will use and authorise qualified and experienced handling staff and contractors in the handling of its collection and works in its care. Handling methods are reviewed and improved in accordance with industry standards, research and technology developments. Packing and transport

The Gallery will employ appropriate methods and materials in the packing and transport of works in its collection and care, including safe and secure digital movements of collection. The Gallery will also utilise appropriately qualified and experienced staff, contractors and carriers for the packing and transportation of works. Functions and events

The Gallery will ensure staff and contractors involved in functions and events are aware of the risks to artworks and archives that may arise during an event and trained in appropriately mitigating such risks. In consultation with appropriate collection management staff, sound planning and risk management and response strategies will be employed for all events and functions at the Gallery.

6.3.2 Conservation treatment

Conservation treatment of artworks and archives is undertaken in accordance with the Australian Institute for the Conservation of Cultural Material (AICCM) Code of Ethics and Code of Practice, and will reflect the Gallery’s respect for the artistic, physical, historic, aesthetic and cultural integrity of the object.


Research related to collection management is undertaken in accordance with the Research Policy. Areas of research that significantly contribute to the stewardship of the collection and works in the Gallery’s care include:
a. technical art history
b. conservation materials and treatments
c. conservation ethics and philosophy
d. preventive conservation
e. new approaches to collection management and conservation
f. legal and ethical issues in the management of the collection
g. risk identification, management and mitigation.

6.4 Access

The Gallery will ensure that gallery spaces are controlled and managed in accordance with the principles of preventive conservation, risk management and security and will provide access to physical and digital storage. Staff, contractors, suppliers and any other parties working with and around artworks and other collection materials, or needing access to physical and digital collection storage, will be appropriately trained and/or supervised in order to minimise risks to the collection and other objects in the Gallery’s care.

The Gallery facilitates access to the collection and other objects in its care for public engagement and for research through a range of programs, services and facilities, including:
a. Display: public exhibition of works of art and archives, including incoming loans, through display in the Gallery’s collection exhibitions, temporary exhibitions, touring exhibitions and permanent displays.
b. Outgoing loan: the Gallery maintains an active outgoing loan program, facilitating public access to the collection through displays at other venues, in accordance with the Outgoing Loans Policy.
c. Viewing works not on display:

  1. The study room provides public access to the collection of works on paper in storage. This facility is available to students, artists, researchers and members of the public. Teachers, lecturers and tutors may also use the study room for their classes.

  2. Collection store: Members of the public may request to view works in storage. Requests will be considered on a case-by-case basis, taking into account ease of access and potential risks to the artwork or members of the public that may arise from the nature of the access conditions. Access for students, researchers, colleagues at other institutions, freelance curators, artists, relatives of the artist, donor or sitter will be facilitated whenever possible. Visitors’ access to the store is restricted, and viewings are conducted in the designated viewing area.

  3. Collection store and conservation studio tours: Tours may be conducted for a variety of audiences, including groups organised by the Learning and Participation Department, Art Gallery Society members, and benefactors or sponsors to the Gallery.

  4. Digital access to the collection is facilitated through publishing in digital formats, including information and images of the collection on the Gallery’s public website. Digital access requests to view collection items will be considered on a case-by-case basis, under the direction of the Curatorial, National Art Archive, and Rights and Image Licensing departments.

  5. The National Art Archive includes a wide range of materials in diverse media, the Gallery’s own institutional archive, the collected archives of artists and special collections. Most archives held in the NAA are open to the public. However, access to the Gallery’s institutional archive is determined by the State Records Act (1998) and some collected archives may have restrictions imposed by donors. Information on access and instructions on how to request archival material is available on the Gallery’s website. Physical access to materials is made through the National Art Archive reading room.

In accordance with the Aboriginal and Torres Strait Islander Engagement Policy, the Gallery will not permit public or staff access to Aboriginal and Torres Strait Islander art and archives, including access to images or digital media, in instances where it is not culturally appropriate or respectful to do so. Restricted objects will not be accessed by staff without prior consultation with Aboriginal and Torres Strait Islander art curators.

6.5 Documentation

Documentation is fundamental to sound collection management and stewardship. It is integral to the Gallery’s ability to maintain physical, digital and intellectual control of its collection and it provides transparency and accountability for works in its care. The Gallery recognises that disassociation of artworks and archives from the information and knowledge about them can significantly impact on the Gallery’s capacity to access, manage and appropriately care for the collection. Documentation is maintained for all artworks and archives, including works in the collection and in the Gallery’s care for the purpose of proposed acquisition, research, appraisal, assessment, photography, treatment, incoming loan or in accordance with custodial arrangements.

6.5.1 Collection management system

The Gallery utilises an industry-standard collection management system (CMS) to manage and maintain documentation. Documentation includes:
a. cataloguing of artworks and archives in the collection
b. documentation relating to the transfer of possession and ownership, acquisition and accession, incoming and outgoing loans, collection valuation and insurance, and location and inventory control and location history
c. exhibition-related records
d. conservation condition and treatment reports and associated analytical and research documentation and reports
e. installation and handling instructions
f. design schematics and instructions relating to the reproduction of specific works in the collection
g. copyright licensing and other restrictions or controls
h. associated files, images and references
i. digital images, including identification, conservation or treatment and installation images
j. video and audio relating to conservation, installation and artist interviews.
Information is entered and maintained in accordance with established procedures. The collection management system is structured and managed to facilitate broad access to knowledge and research on works in the Gallery’s collection and care, while ensuring respect for and compliance with security, risk management, and confidentiality and privacy considerations.

6.5.2 AGNSW institutional archive, National Art Archive

The Gallery’s institutional archive is a rich source of important documentation on the collection, including glass-plate negatives and vintage photographs of individual works of art and exhibition installations, acquisitions ledgers and journals, correspondence with artists and donors, audit and deaccession records, legal records such as wills, audio visual and other material.

6.5.3 Artwork identification

The Gallery will apply appropriate registration and collection management standards in order to ensure works of art in its care are able to be identified. Artworks and the data supporting or associated with them will be assigned a unique identifier. To facilitate the association between the knowledge of a work and the material object, digital object or its carrier, artworks and associated accessory components will be tagged, labelled, accession marked or otherwise identified and the Gallery will consider research and technology to improve the efficacy and efficiency of identification methods.

6.5.4 Photographic, video and audio documentation

The Gallery compiles documentation of artworks through photography, video and audio recording, including all new acquisitions and artworks in the existing collection. The Gallery also maintains photographic, video and audio documentation of exhibitions. This documentation includes installation views and photographic, video and audio documentation of artwork condition and conservation treatments. The Gallery also produces interpretive video, audio and software-based content that supports artworks in the collection and exhibitions.

6.5.5 Supporting materials

In addition to documentation on the CMS and the record keeping requirements of this policy, staff will maintain files, including primary research materials and other associated or supporting original documentation and materials. Files are maintained in accordance with established protocols and procedures.

6.6 Custodianship

The Gallery recognises that there may be extraordinary circumstances in which it will take possession of artworks or archives without either acquiring legal title or formalising the transfer of possession in accordance with the Incoming Loans Policy. The Gallery will enter into such arrangements for a number of reasons, including situations where:
a. there is a significant risk of damage, loss or destruction of the work if the Gallery fails to act
b. the Gallery is fulfilling a statutory or legal requirement to do so
c. the Gallery is responding to a request by Aboriginal or Torres Strait Islander communities or other traditional owners
d. the Gallery is acting in a collegial manner to hold works on behalf of another institution on a temporary basis
e. works are being deposited for the purpose of appraisal, assessment, research, conservation, photography or other agreed purpose.

When not otherwise able to be administered as incoming loans in accordance with the Incoming Loans Policy, including situations in which ownership is uncertain or disputed, such arrangements will be managed as custodial relationships. Works held in custody will be formally acknowledged by the Gallery in accordance with established registration procedures and will be cared for in accordance with the preventive conservation principles outlined in this policy. Works in custody deposited at the request of the owner or a third party may be covered by Gallery insurance depending on circumstances involved.

In considering the custodianship of such works, where relevant, the Gallery will consult with representatives of appropriate communities or groups, the professional museum community and/or relevant governments and will be guided in particular by the Aboriginal and Torres Strait Islander Engagement Policy regarding community consultation processes. The Gallery will enter into such arrangements on the basis of sound, considered professional and ethical judgements or where required to do so in compliance with statutory obligations.
Custodial arrangements will be entered into with the approval of the director or his/her delegate. The basis for the decision to enter into the arrangement will be documented in accordance with the record keeping requirements of this policy and formalised through correspondence or contractual arrangements, as appropriate in the circumstances.

Custodial arrangements will be periodically reviewed and decision-making regarding the continuation of such arrangements by the Gallery and the owner or depositor will be documented and formalised through correspondence or contract, as appropriate.

In circumstances where the Gallery is in possession of an artwork or archive beyond the period of any previously agreed loan or deposit arrangements and the Gallery is unable to contact the owner, depositor or lender despite its best and genuine efforts, the works may be considered to be held in custody in accordance with this policy. Such works will be managed accordingly and the disposal or transfer of possession of the works may be approved by the director or her/his delegate and managed in accordance with the Uncollected Goods Act 1995 (NSW) and Claims Handling Procedures.

6.7 Risk management

The Gallery is committed to undertaking strategies to identify, assess and manage risks to works in its collection and care. In addition to preventive conservation strategies, the Gallery will adopt a strategic and considered approach to managing risks in a sustainable, responsible and publicly accountable manner.

6.7.1 Incident reporting and disaster response and recovery

The Disaster Response and Recovery Plan provides a framework for the management of incidents affecting the Gallery’s premises, services or holdings in order to achieve a response that is prompt, coordinated, targeted and effective.

Staff and volunteers are trained and required to report all incidents and risks to the collection and works of art in the Gallery’s care promptly in accordance with established procedures and the Disaster Response and Recovery Plan. Prompt reporting contributes to the Gallery’s ability to mitigate and appropriately address incidents and risk.

6.7.2 Display techniques

In accordance with preventive conservation principles and the Exhibitions Development Policy, display techniques and strategies are developed through the consultative exhibitions development processes. Display techniques and approaches are informed by exhibition design, curatorial and conservation considerations and through consultation with artists and lenders.

6.7.3 Location control and inventory

The accurate location control and inventory of works of art and archives is maintained through the implementation and monitoring of sound physical and digital movements, procedures and protocols.
To contribute to the accessibility of the collection, inventories of the collection are conducted on a cyclical basis. The inventory process enables the Gallery to ascertain and address the reliability and accuracy of location information and systems.

6.7.4 Insurance

The collection is indemnified against loss and damage to property by the New South Wales Treasury Managed Fund (TMF). The TMF is an indemnification scheme administered by the Treasury of the State of NSW for and on behalf of NSW Government Agency members, including the Gallery.
Unless a lender elects to maintain their own insurance coverage, or does not accept the TMF, the Gallery will indemnify incoming loans for loss and damage through the TMF for an amount agreed with the lender.

6.7.5 Couriers

The Gallery may elect to use couriers to oversee the transit, condition reporting, installation or de-installation of artworks and archives or the transfer of responsibility for incoming loans.
In determining requirements for and selection of a courier, the Gallery will consider:
a. the value of individual objects and the overall consignment(s)
b. the significance and fragility of the object/s
c. any specific handling or installation requirements
d. complex works requiring specialist internal skills and oversite
e. available staffing and contractor arrangements at the borrowing venue/s
f. the number of objects comprising the consignment/s
g. transport and other security arrangements in place.

The courier may be a Gallery employee, or another person approved by the Gallery. Couriers will be appropriately qualified and experienced in art handling, installation and transport procedures.

6.7.6 Hazardous materials

The Gallery will actively manage risks posed by a work of art or archive in the collection or in the Gallery’s care that is suspected or confirmed to contain materials hazardous to other works, staff or members of the public. The presence of materials that pose a significant hazard will be a consideration in the acceptance of proposed acquisitions and incoming loans and may be a consideration in the deaccessioning and disposal of works from the collection.

6.8 Transparency and accountability

6.8.1 Record keeping

In accordance with the Record Keeping Policy and established procedures, staff will maintain records (paper based, digitised and/or born-digital) related to the management of the artworks and archives in the Gallery’s collection and care, including relevant documentation and supporting materials, decision-making, evidence of risk management strategies employed and all relevant incident and condition reporting.

6.8.2 Internal audit and review cycle

The director will ensure that compliance with this policy is assessed as part of the Gallery’s audit program. The policy will be reviewed by the Board of Trustees on a regular basis in accordance with the Gallery’s audit program.

6.8.3 Staff obligations

Gallery staff involved in collection management activities are bound by the Gallery’s Code of Ethics and Conduct and other relevant Gallery policies, including but not limited to the Conflict of Interest Policy, Gifts and Benefits Policy; Fraud Control Policy and Record Keeping Policy.

7. Responsibilities and compliance

7.1 Acquisitions and Loans Committee

The Acquisitions and Loans Committee is responsible for monitoring and reviewing all aspects of the Gallery’s collection management processes and makes recommendations to the Board of Trustees in this regard.

7.2 Executive and staff

The director and deputy director are responsible for ensuring that the processes and documentation relating to the collection conform to all policies and that Gallery staff understand and comply with the policies.

  • Aboriginal and Torres Strait Islander Engagement Policy

  • National Art Archive Policy Collection Development and Access (in review)

  • Art Acquisitions Policy

  • Conflict of Interest Policy

  • Deaccession and Disposal Policy

  • Digital Preservation Policy

  • Digitisation policy

  • Exhibitions Development Policy

  • Gifts and Benefits Policy

  • Incoming Loans Policy

  • Outgoing Loans Policy

  • Provenance and Due Diligence Research Policy

  • Record Keeping Policy

  • Research Policy (in review)

8.2 Guidelines, procedures and associated documents

  • Aboriginal and Torres Strait Islander Engagement Procedures

  • Disaster Response and Recovery Plan (in development)

  • Artwork Claims Handling Procedures

  • Code of Conduct

  • Code of Conduct for Board of Trustees

  • Corruption Prevention Strategy

  • Incoming Loans Procedures

  • Risk Management – Statement of Intent

  • Integrated Pest Management Procedures

  • Venues and Events Procedures

  • Guidelines for painting contractors

  • Flowers, Plants and Organic Materials Procedures

  • Cleaning Procedures

  • Collection Stocktake Procedures

8.2.2 National and international guidelines, procedures and associated documents

8.3 Legislation

8.3.1 Commonwealth of Australia

8.3.2 New South Wales

This policy is also informed by the traditions and precedent set since the establishment of the Gallery.