Hilma af Klint: The Secret Paintings is attracting steady crowds at the Art Gallery of New South Wales (AGNSW). Perhaps enthusiasm is too ebullient a word for the pervading mood of reverence, but clearly Hilma af Klint’s newly minted reputation preceded her. The humming scrutiny is silenced in the famous double-height space in Andrew Anderson’s 1972 building: ten enormous abstract paintings, each more than three metres high, surround viewers in an installation not unlike the temple that the artist originally planned for them. Remarkably, The Ten Largest were painted in 1907, part of The Paintings for the Temple project between 1906 and 1915 that eventually comprised 193 paintings. This ambition and scale were not seen anywhere else at that time: the phenomenon that is af Klint is rewriting the history of modern art.