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Martin Creed's completely unequivocal, but also pretty darn ambiguous, work for Christchurch.

Once upon a time, there was a massive rabbit...

Christchurch's favourite bull can now be found at PlaceMakers Riccarton. That may sound a bit unusual, but these are strange times.

Cathedral Square, Centennial Pool, Lancaster Park, schoolboys, punks, nuns – a photographic journey through 1980s Christchurch.

The consideration of Japanese whale-hunting activity and ensuing protest in nearby southern waters has led to a reflection on our local whaling past, highlighting changing and divergent attitudes to animal life.

An exhibition of beautifully crafted, designed and hand-printed books from New Zealand's most renowned private press, The Pear Tree Press.

A selection of typographic designs, including books, posters and ephemera, by renowned Christchurch graphic designer Max Hailstone (1942–1997).

Combining vividly imagined photographs with sculptural elements, Christchurch-based collaborative duo Edwards+Johann present an enigmatic and playful installation laced with tension and possibility.

Christchurch audiences at last have the opportunity to experience the complexity and ambition of Cotton's latest work in this two-venue exhibition by one of the biggest names in New Zealand art.

Hectic city scenes transformed into contemplative meditations of extraordinary beauty.

A family-focused exhibition powered by the excitement of seeing ordinary things transformed in unexpected ways.

Six artists use line to investigate space and structure in unexpected ways.

A selection of lavishly illustrated books from the Victorian era relating to New Zealand landscape, Māori culture, colonial enterprise and our unique flora, fauna and birdlife.

An interactive installation that reveals the astonishing sounds people can make using their bodies – from lip plopping to bone clicking.

Real or illusory? Virtual or physical? Sculptor Glen Hayward teases out these questions in this mind-bending new sculpture, a hand-carved and painted recreation of the famous office cubicle from The Matrix.

A selection of hand-printed books from Wellington's Fernbank Studio.

Boyd Webb contributes a new work to the Gallery's Sterescope programme.

Credited with freeing video art from the 'tyranny of the monitor', Tony Oursler is regarded as one of the world's most influential artists in that medium.

Credited with freeing video art from the 'tyranny of the monitor', Tony Oursler is regarded as one of the world's most influential artists in that medium.

Treasured portraits populate empty spaces in our changing city.

Grinning ventriloquist dummies are the stars of the show in Roger Boyce's Painter Speaks.

Portraits in books from the Christchurch Art Gallery Library collection.

The fantastically strange, inescapably human works of renowned video artist Tony Oursler.

New Zealand-born, Melbourne-based artist Jess Johnson makes intricate drawings and painted environments that evoke other worlds and parallel realities.

Gnomes are figures in historic folklore as well as garden ornaments. But Gregor Kregar has brought gnomes like you've never seen to 'the garden city' – staunch, shiny and more than three metres tall.

Drawn from the collection of Christchurch painter Roger Boyce, these promotional posters from Ghana, Africa, are movie marketing like you've never seen: lurid, vivid and emphatically hand-made.

A New Age awakening? Or just a 1960s pipe dream? Francis Upritchard's Believer is a recent addition to her expanding gallery of hippies, dreamers and gurus.

Wellington-based artist Sian Torrington's site-specific sculptural installation combined ideas, images and materials that related to life in post-quake Christchurch

Steve Carr's strangely mesmerising sound and video projection is shown after dark in an upstairs window of the old house opposite the Gallery on Worcester Boulevard.

Christchurch Art Gallery has a new offsite space, and Seung Yul Oh has filled it to bursting with his comically vast balloon sculptures.

Op-art patterns, expanses of glitter and Māori stories of water. They're all set in motion in this dazzling video installation by New Zealand artist Reuben Paterson.

Christchurch Art Gallery celebrates its tenth birthday with a burst of art in the city – including whopping new murals, night-time projections and sculptures where you least expect them.

The kaleidoscopic moving imagery of Christchurch artist Toshi Endo has been stripped of colour and brought to a standstill in Wolf-Cub, his contribution to Christchurch Art Gallery's Stereoscope programme.

Established in Christchurch in 1933 the Caxton Press became one of the most progressive publishers of contemporary New Zealand writing and dynamic modern typographical design.

Local artist Brenda Nightingale's beautifully produced, hand-stitched publication features a selection of recent watercolours based on one of Christchurch's defining features, the Port Hills

Two Year of the Cyclops works by Christchurch artist Rob Hood kick off the second iteration of Stereoscope at 26E Lichfield Street.

Christchurch artist Robin Neate's contribution to the Gallery's Stereoscope programme is drawn from his recent series of energised abstract paintings.

Expect the rug to be pulled out from under your feet with the last exhibition in the Rolling Maul series.

An exciting opportunity to see new work by leading Canterbury artists Tony de Lautour, Jason Greig and Bill Hammond

Touring Australia and New Zealand 2012–13

Manipulating found footage of the infamous 'Black Friday' sales held by American chain stores, James Oram isolates and magnifies smaller physical gestures amidst the frenzied crush.

An explosive work of art in the central city.

Drawings of two bottles - one of gin, one of water – grace the Montreal Street side of the Christchurch Art Gallery bunker in the latest offering in the Stereoscope series.

Sharing an interest in expanding the idea of abstract painting beyond its traditional borders, Miranda Parkes and Tjalling de Vries explore the creative possibilities of commercial billboards in an exhibition that combines painting and projection to obstruct and intrigue in equal measure.

André Hemer's many-dimensioned installation for the Rolling Maul series combines painting with a range of secondary outputs to play with ideas of distance and deletion – with particular reference to a well known work from the Gallery's collection.

Helen Calder's new work, Orange Up, provides a refreshingly bold statement on the Gallery bunker using one of the powerhouses in the range of colours: orange.

Australian artist Justene Williams uses performance and ephemeral materials to produce a sensory overload of shapes, patterns and colours in the vibrantly theatrical video work.

Offering a poetic commentary on the intriguing resemblances between art and science, Ruth Watson's container-based video installation combines historical footage, text and her own Antarctic imagery.

An ambitious paste-up work by local artist Tjalling de Vries on CoCa's back wall (viewable from Worcester Boulevard), Tjalling is Innocent is an Outer Spaces project presented in association with CoCA.

Painted on found pages from real estate publications, Unreal Estate, is an artist's book published by local artist Tony de Lautour and Christchurch Art Gallery.

Katharina Jaeger, Chris Pole, Tim J. Veling and Charlotte Watson start with structure and consider what is possible when the normal rules no longer apply.

Laden with associations, but buoyant with possibility, this large-scale window commission by renowned New Zealand artist Richard Killeen features a richly-layered composition that hints at systems of knowledge and classification.

Back projected large onto a shop window in Colombo Street, Sydenham, Doc Ross's photographs create a haunting record of this city before its dramatic seismic demise.

Two Year of the Cyclops works by Christchurch artist Rob Hood kick off Stereoscope, a new Outer Spaces series housed within two black frames positioned on the street-side of the Gallery's Montreal Street bunker.

A big bright mural inspired by the challenges of rebuilding a city. Kay Rosen turns the word 'people' into the foundation for an unexpected 'steeple'.

Michael Parekowhai's spectacular Venice Biennale installation returns home for its first post-Biennale showing in New Zealand.

Hannah and Aaron Beehre's immersive new installation connects us with the transformative moments beneath the surface of the everyday.

Strength, fragility and connection are at the heart of the second Rolling Maul exhibition, which features works by Georgie Hill and Zina Swanson.

Presenting new art from Christchurch, our Rolling Maul project series begins with a remarkable exhibition of sculptures by Sam Harrison.

Keep an eye out for the Gallery's latest Outer Spaces project around town over the next couple of weeks as poster reproductions of three paintings by Auckland artist Elliot Collins appear pasted to bollards and walls throughout the city.

A haunting video projection by Ronnie van Hout in the window of the old house opposite the Gallery on Worcester Boulevard.

Julia Morison's evocative post-quake sculptures and 'liqueurfaction' paintings return to Christchurch for a special showing in a gallery space overlooking the inner-city 'red zone'.

Stretching across a vast wall at the gateway to Sydenham, Wayne Youle's new public artwork is a shadowboard, where tools for rebuilding hang alongside many familiar but precious objects.

A procession of politically charged colours

Pablo Picasso, Marcel Duchamp, Damien Hirst, Robert Smithson, Michelangelo... Yes, all the big names have just arrived on the Christchurch Art Gallery forecourt.

Julia Morison has turned the Gallery's squat grey bunker into a dizzying vision in dayglo green.

New Zealand artist André Hemer's colourful Worcester Boulevard intervention Things to do with paint that won't dry, appears to flow and spill down the side of the building.

An immense and oddly surreal landscape glowing out from the Springboard over Worcester Boulevard is the latest addition to the Outer Spaces programme.

Including a wishing well and mirror painstakingly woven from reflective black VHS tape, Scott Flanagan's latest installation considers the surprisingly elusive nature of civic memory.