Kimberley region of Western Australia in the context of "Great Sandy Desert"

Indigenous Australian art includes art made by Aboriginal Australians and Torres Strait Islanders, including collaborations with others. It includes works in a wide range of media including painting on leaves, bark painting, wood carving, rock carving, watercolour painting, sculpting, ceremonial clothing and sandpainting. The traditional visual symbols vary widely among the differing peoples' traditions, despite the common mistaken perception that dot painting is representative of all Aboriginal art.

Many Australian Aboriginal cultures have or traditionally had a manually coded language, a signed counterpart of their oral language. This appears to be connected with various speech taboos between certain kin or at particular times, such as during a mourning period for women or during initiation ceremonies for men, as was also the case with Caucasian Sign Language but not Plains Indian Sign Language, which did not involve speech taboo, or deaf sign languages, which are not encodings of oral language. There is some similarity between neighbouring groups and some contact pidgin similar to Plains Indian Sign Language in the American Great Plains.

Sign languages appear to be most developed in areas with the most extensive speech taboos: the central desert (particularly among the Warlpiri and Warumungu), and western Cape York. Complex gestural systems have also been reported in the southern, central, and western desert regions, the Gulf of Carpentaria (including north-east Arnhem Land and the Tiwi Islands), some Torres Strait Islands, and the southern regions of the Fitzmaurice and Kimberley areas. Evidence for sign languages elsewhere is slim, but they have been noted as far south as the south coast (Jaralde Sign Language) and there are even some accounts from the first few years of the 20th century of the use of sign by people from the south west coast. However, many of the codes are now extinct, and very few accounts have recorded any detail.

The Gwion Gwion rock paintings, Gwion figures, Kiro Kiro or Kujon (also known as the Bradshaw rock paintings, Bradshaw rock art, Bradshaw figures and the Bradshaws) are one of the two major regional traditions of rock art found in the north-west Kimberley region of Western Australia. Key traditional owners have published their own account of the meaning of the images. However the identity of the artists and the age of the art are contested within archaeology and amongst Australian rock art researchers. A 2020 study estimates that most of the anthropomorphic figures were created 12,000 years ago, based on analysis of painted-over wasps' nests. These aspects have been debated since the works were seen, and recorded, in 1891 by pastoralist Joseph Bradshaw, after whom they were named until recent decades. As the Kimberley is home to many traditional owners, the rock art is referred to and known by many different names in the local languages, the most common of which are Gwion Gwion or Kiro Kiro/Giro Giro. The art consists primarily of human figures ornamented with accessories such as bags, tassels and headdresses.

Bark painting is an Australian Aboriginal art form, involving painting on the interior of a strip of tree bark. While examples of painted bark shelters were found in the south-eastern states (then colonies) of Tasmania, Victoria, and New South Wales in the 19th century, as well as later on bark shelters in northern Australia, it is now typically only found as a continuing form of artistic expression in Arnhem Land and other regions in the Top End of Australia, including parts of the Kimberley region of Western Australia.

Bark paintings were traditionally produced (especially among the Yolngu peoples) for instructional and ceremonial purposes and were transient objects. Today, they are keenly sought after by collectors and public arts institutions.