Australia: so much to see, so far to travel. Hence the most satisfying thing about this autumn's calendar is news that a bunch of top curators have edited 200 years of the nation's art and are delivering it to our doorsteps for £14 a ticket. Australia at the Royal Academy, London (21 Sept to 8 Dec), features work by settlers and indigenous people and, best of all, includes four paintings from Sidney Nolan's Ned Kelly series, the source of much mythology and fame.
Other big institutions in the capital are lining up their autumn blockbusters too. Art Under Attack (Tate Britain, 2 Oct to 5 Jan) examines 500 years of assaults on work for religious, political or aesthetic reasons. Meanwhile, Facing the Modern: The Portrait in Vienna 1900 (National Gallery, 9 Oct to 12 Jan) promises a Sachertorte of works by Klimt, Schiele and Kokoschka and sits well alongside Tate Modern's Paul Klee (16 Oct to 9 Mar).
After all that angsty Modernism, gallery-goers will need a day by the sea: head to Margate for a dose of Turner and Constable: Sketching from Nature (Turner Contemporary, 5 Oct to 5 Jan).
More left field, I'm looking forward to Elmgreen and Dragset's Tomorrow at the V&A (1 Oct to 2 Jan, below), in which the artists turn five galleries into the apartment of a fictional architect. And, at Manchester City Art Gallery, Turner Prize-winner Jeremy Deller's All That Is Solid Melts Into Air (12 Oct to 19 Jan), a show that explores the links between working class culture and music.
Finally, an art and architecture double whammy in London as the Serpentine opens its Sackler outpost in a converted ammunition store in Hyde Park. The first show is by Adrian Villar-Rojas (28 Sept to 10 Nov), who works in brick, and the building is by Zaha Hadid, queen of polished concrete: a thrilling case of the rough meeting the smooth.