| 2024 | Performance Review | ︎︎︎ ANITO by Justin Talplacido Shoulder | Performance Art Museum |
| Exhibition Review | ︎︎︎ A tide is a very long wave at SYRUP | Memo Review | |
| Exhibition Review | ︎︎︎ NUW🌏RLDS at 4A Centre for Contemporary Asian Art | Memo Review | |
| Artist Profile | ︎︎︎ Claudia Nicholson: If The Mountain is Burning, Let It Burn | Art Collector Magazine | |
| Catalogue Text | ︎︎︎ Future Remains: The 2024 Macfarlane Commissions – Andy Butler | Australian Centre for Contemporary Art | |
| Performance Review | ︎︎︎ ESSSENSSSE by HOSSEI at Verge Gallery | Performance Art Museum | |
| 2023 | Exhibition Review | ︎︎︎ I remember you by Salote Tawale at Carriageworks | Memo Review |
| Catalogue Text | ︎ Truc Truong / ACE Studios 2023 Exhibition | Adelaide Contemporary Experimental | |
| Creative Text | ︎ Archival Aesthetics curated by Saluhan Collective | SEVENTH Gallery x Collective Polyphony Festival | |
| Exhibition Text | ︎ The kingdom, the power by Marikit Santiago | Bendigo Art Gallery | |
| Catalogue Text | ︎︎︎ Nikki Lam / Primavera 2023: Young Australian Artists | Museum of Contemporary Art Australia | |
| Chapter, Ed. Book | ︎︎︎ Enough: Artists and Writers on Gendered Violence | Perimeter Editions x CoVA at the University of Melbourne | |
| Exhibition Review | ︎︎︎ Impossible Desire by Ali Tahayori at Knulp | Memo Review | |
| Exhibition Review | ︎︎︎ Linger, Dash, Talk at Cement Fondu | Memo Review | |
| 2022 | Journal Article | ︎︎︎ The 'Women's' Show after House of Slé: A Dialogue Between Bhenji Ra and June Miskell | Australian and New Zealand Journal of Art (Vol. 22, No. 2) |
| Catalogue Essay | ︎ We Eat This Bread by Marikit Santiago | Fairfield City Museum & Gallery | |
| Exhibition Review | ︎︎︎ Ultra Unreal at Museum of Contemporary Art, Australia | Memo Review | |
| Catalogue Text | ︎︎︎ Like a Wheel That Turns: 2022 Macfarlane Commissions – JD Reforma | Australian Centre for Contemporary Art | |
| Artist Profile | ︎ Keg de Souza: Food for Thought | Look Magazine, Art Gallery of New South Wales | |
| Exhibition Review | ︎︎︎ Roots at Pari, Parramatta | Memo Review | |
| Catalogue Text | ︎︎︎ UN/LEARNING Australia | Artspace Sydney x Seoul Museum of Art | |
| 2021 | Exhibition Review | ︎︎︎ AEON+: TITAN ARUM by Justin Talplacido Shoulder | Performance Review |
| Catalogue Essay | ︎ I don’t see colour by Salote Tawale | Perth Institute of Contemporary Art | |
| Catalogue Text | ︎ ‘Of this and other worlds’ in 20:20 | Murray Art Museum Albury | |
| Catalogue Essay | ︎ Acid Mantle by JD Reforma | COMA Gallery | |
| 2020 | Creative Text | ︎︎︎ The feeling that moves us | Free Association |
| Creative Text | ︎︎︎ A Letter for My Love(s) | Runway Journal, Issue 41: Love | |
| Catalogue Text | ︎︎︎ Shadow Catchers curated by Isobel Parker Philip | Art Gallery of New South Wales | |
| 2019 | Honours Thesis | ︎ Embodied Knowledge and Collective Survival: Dance and Community in the work of Bhenji Ra | UNSW Art & Design |
| Exhibition Feature | ︎︎︎ The Fullness of Time by Caroline Garcia & JD Reforma at Verge Gallery | Running Dog | |
| Exhibition Review | ︎︎︎ I LOVE YOU MELISSA curated by Courtney Novak at The Lock-Up | Running Dog | |
| Catalogue Text | ︎ I will never run out of lies nor love curated by Nanette Orly & Sebastian Henry-Jones | Bus Projects | |
| Exhibition Feature | ︎︎︎ Do You Know This Feeling curated by Sebastian Henry-Jones at Firstdraft | Running Dog | |
| Creative Text | ︎︎︎ Habilin, comissioned for Kudos Live: Intimate Circulations curated by Audrey Pfister & Em Size | Kudos Gallery | |
| 2018 | Exhibition Review | ︎︎︎ Dual Existence curated by Kate Stodart at Kudos Gallery | Runway Journal, Conversations |
| Creative Text | ︎︎︎ Nosebleed | Framework (Issue 21: Networks) | |
| Exhibition Review | ︎︎︎ Coca-Colanised by Marikit Santiago at Verge Gallery | un Projects, un Extended | |
| 2017 | Critical Essay | ︎︎︎ Re-vising the Archive | Framework (Issue 19: Archive) |
| Exhibition Review | ︎ No/Vacancy by Amelia Skelton & Tango Conway at Down/Under Space | Framework (Issue 17: Transformation) |
I acknowledge the Gadigal and Wangal peoples of the Eora Nation as the Traditional Custodians of the land on which I live, work, and play. I pay my deepest respects to Elders past and present. I recognise that on this land Sovereignty was never ceded and this always was and always will be Aboriginal land.
All content © June Acido Miskell