[2] His artworks are complex, infused with intellectual references to a wide range of topics, including history, poetry and philosophy, as well as his own personal experiences.
Major solo surveys of his work include Imants Tillers: works 1978 – 1988 at the Institute of Contemporary Arts, London (1988); Imants Tillers: 19301, at the National Art Gallery, Wellington (1989); Diaspora, National Art Museum, Riga, Latvia (1993); Diaspora in Context at the Pori Art Museum, Pori (1995); Towards Infinity: Works by Imants Tillers, Museum of Contemporary Art (MARCO) in Monterrey, Mexico (1999); and in 2006 a major retrospective of his work, Imants Tillers: one world many visions, was held at the National Gallery of Australia, Canberra.
[6] Tillers has also exhibited in numerous group exhibitions around the world, including An Australian Accent at PS1, New York (1984); Antipodean Currents at the Guggenheim Museum, Soho (1995); Australian Perspecta (1981,1987-89);" The Osaka Triennale of Painting" !990 The World Over/Under Capricorn: Art in the Age of Globalisation at the City Gallery, Wellington and Stedelijk Museum, Amsterdam (1996); the Biennale of Sydney (1979, 1986, 1988, and 2006); Kunst Nach Kunst (Art After Art), at the Neues Museum Weserburg, Germany (2003); and Prism, at the Bridgestone Museum of Art, Tokyo (2006).
In 2005 he was awarded a Doctor of Letters honoris causa for "his long and distinguished contribution to the field of arts", by the University of New South Wales.
[11] The tapestry, Avenue of Remembrance, also made reference to The Gallipoli Letter, written by Keith Murdoch to then Prime Minister Andrew Fisher, which is widely thought to have helped end the Gallipoli campaign.