Within the Western art canon, theorists Susan Sontag and Jacques Rancière denote numerous contemporary artworks that graphically depict violent incidents as a way to shock and educate their audiences. Contemporary artists employ techniques to subvert these ‘Intolerable Images’, which transform them into digestible forms that provoke an emotional and therefore receptive response in the viewer. Due to the Eurocentric conception of ‘The Intolerable Image’ and its reliance on photographic documentation and colonial ‘evidence’, I propose the notion of ‘The Intolerable Narrative’, derived from Rancière’s ‘The Intolerable Image’, as a way to describe the brutal colonial project in an Australian context and its representation in contemporary Aboriginal art. This is detected in Brook Andrew’s Vox: beyond Tasmania (2013), Julie Gough’s HUNTING GROUND (2016), and Vernon Ah Kee’s tallman (2010).