This chapter considers the representation of trauma in Australian Indigenous art, focusing in particular on contemporary art that directly or indirectly addresses Australia’s shameful colonial histories. I analyse art that moves beyond the familiar repertoire of postmodern political art, which dominated identity politics art of the 1970s, 1980s and 1990s. That language is effective for the registration of anger, but less effective in conveying the damage caused by annihilating narratives about race and historical atrocities such as massacres. I consider how the work of Brisbane-based Indigenous artists Judy Watson and Robert Andrew occupies the deeply ambivalent space of reparative aesthetics articulated by queer theorist Eve Kosofsky Sedgwick. Sedgwick frames the reparative position as one that can hold in tension both negative and positive feelings. In contrast, the work of artists, such as Gordon Bennett and Vernon Ah Kee, underscores the irreparable and the deep marks of trauma. I examine how these different strategies memorialise traumatic experiences that normally escape capture.