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The harvesting of spaghetti from a ‘vine’ on the ceiling of Lo Spiedo, an Italian restaurant in central London, September 22, 1961. The ceremony wasin response to a hoax broadcast by BBC’s Panorama on April Fools Day 1957. Keystone/Hulton Archive/Getty Images

From spaghetti harvests to fake news: why the glory days of April Fools gags are over

April Fools pranks are a centuries old tradition, and the media used to love taking part. But it’s hard to do so in a post-truth world.
Fiona Foley, HHH #1, 2004, ultrachrome print on photographic rag paper, 83.8 x 112.1 cm (sheet) 98.0 x 119.0 x 4.5 cm (framed), The State Art Collection, The Art Gallery of Western Australia, Purchased through The Art Gallery of Western Australia Foundation: Tomorrow Fund, 2009, © Fiona Foley, 2004.

I AM: a powerful declaration of Indigenous identity at the Art Gallery of Western Australia

This exhibition is not driven by aesthetics alone. It is a coming together of rich individual identities voicing their history, knowledge and lived experiences.
Installation view of the 25th Biennale of Sydney, Rememory, at the Art Gallery of New South Wales, 14 March – 14 June 2026, featuring art by Ngurrara Artists. Artwork © the artists, photo © Art Gallery of New South Wales, Felicity Jenkins

Stories open to interpretation: the 2026 Biennale of Sydney embraces narratives with multiple meanings

Under curator Hoor Al Qasimi, we see artistic narratives – like memories – are both personal and collective, enduring yet subject to change over time
A handout picture by the Iranian foreign press department shows graves being prepared for the victims of a Israel-US airstrike on a girls school in the city of Minab, southern Iran. At least 165 girl students and teachers were killed on February 28. EPA

A deadly strike, or Call of Duty clip? How the US government is trying to memeify the war on Iran

The visuals being used by the White House frame real victims of war as game avatars. And avatars, by definition, are not grievable.