There is something immensely satisfying about a work so ambitious and comprehensive as Deborah Edwards’s Margaret Preston, published by the Art Gallery of New South Wales to accompany its current retrospective on this pre-eminent Australian modernist. From the outset, we are introduced to Preston’s perennial capacity to stimulate not only debate but also downright factionalism. The introductory chapter takes the form of multiple quotes, leaving no doubt that Preston continues to ignite debate over issues surrounding an authentic Australian vision.