Anthony White's research focuses on the history of modern and contemporary art. He is the author of Italian Modern Art in the Age of Fascism (New York: Routledge, 2020) and Lucio Fontana: Between Utopia and Kitsch (Cambridge, Mass.: MIT Press, 2011). He co-authored, with Tristen Harwood and Grace McQuilten, Variations: A More Diverse Picture of Contemporary Art (Clayton: Monash University Publishing, 2023) and, with Grace McQuilten, Art as Enterprise: Social and Economic Engagement in Contemporary Art (London: IB Tauris, 2016). He has written for the peer-reviewed journals Art Bulletin, Art History, The Australian and New Zealand Journal of Art, Grey Room, October, and Third Text, and for exhibition catalogues published by The Metropolitan Museum of Art, the Musée d'Art moderne de la Ville de Paris, and the Heide Museum of Modern Art. He has also been a contributor to Artforum. During his tenure as Curator of International Painting and Sculpture at the National Gallery of Australia (2000 – 2002) he curated several exhibitions including Frida Kahlo, Diego Rivera and Mexican Modernism, and Jackson Pollock’s Blue Poles, and co-curated (with Steven Tonkin) Sol LeWitt: Drawings, Prints and Books 1968-1988. In 2008 he co-curated (with Eugen Koh) The Art of Making Sense at The Dax Centre in Melbourne. He has received research awards from the Australian Research Council (2024, 2018, 2012, 2007), and the Ian Potter Foundation (2014), and was a named Collaborator on a project funded by the Social Sciences and Humanities Research Council of Canada (2012 - 2017). He has held visiting appointments at the Department of Italian Studies, New York University (2013), The Centre for Advanced Studies in the Visual Arts, Washington D.C. (2006), and the Humanities Research Centre at The Australian National University (2005). From 2014 – 2018 he was President of the Art Association of Australia and New Zealand.