Susan Best teaches art history at Queensland College of Art, Griffith University. She is professor and convenor of fine art and art theory. Her research focuses on critical theory and post 1960s international art with a particular focus on women's art, conceptual art and Latin American Art.
Her book, Visualizing Feeling: Affect and the Feminine Avant-garde (London: I.B. Tauris, 2011) focuses on four women artists of the 1960s and 70s: Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha. It shows how their work transforms the avant-garde protocols of the period by introducing an affective dimension to late modern art. The project was funded by an Australian Research Council Discovery grant. In 2012, the book won the best book prize awarded by the Art Association of Australia and New Zealand. In 2013, it was short-listed for the American College Art Association Frank Jewett Mather award for art criticism.
She has just completed a book titled Reparative Aesthetics: Witnessing in Contemporary Art Photography (contracted to Bloomsbury Philosophy). This book offers a new way of thinking about the role of politically engaged art. It examines the work of five women photographers from the southern hemisphere who are pioneering a reparative approach to art about shameful histories.
In 2012, she curated an exhibition at the University of Sydney Art Museum, "Vibration, Vibraçao, Vibración" that examined the South American art of the 1960s and 70s in the Power Collection.
In July 2015, she curated an exhibition of the work of Fiona Pardington and Rosângela Rennó for the University of Sydney Art Gallery. She was a member of the curatorium for Joan Brassil's retrospective at Campbelltown Centre for the Arts.