Hannah’s key curatorial projects include Shelley Lasica: WHEN I AM NOT THERE, MUMA, UNSW Galleries and PICA (2022-24); Vivienne Binns: On and through the Surface, MUMA (2022); Dale Harding: Through a Lens of Visitation, MUMA (2021); Agatha Gothe-Snape: The Outcome Is Certain, MUMA (2020); Shapes of Knowledge, MUMA (2019): Alicia Frankovich & Lili Reynaud Dewar, MUMA (2018); The humours, MUMA (2017); Ulla von Brandenburg: It has a Golden Yellow Sun and an Elderly Grey Moon, ACCA (2016); Derek Kreckler: Accident & Process, PICA, Perth and national tour (2015-ongoing); Ryan Gander: READ ONLY, ACCA, Melbourne (2015); Framed Movements, ACCA (2014); In the Cut: Contemporary Collage, ACCA (2013); Power to the People: Contemporary Conceptualism and the Object in Art, ACCA (2011); NEW11, ACCA (2011); Johanna Billing: Tiny Movements, ACCA (2009); Primavera, Museum of Contemporary Art, Sydney (2008); and Old skool (never lose that feeling), PICA (2007).

Hannah has edited a number of award-winning publications, including To Note: Notation Across Disciplines which won the inaugural Cornish Family Book Prize for Art and Design Publishing in 2018. She has a particular interest in performance in the gallery and was a chief investigator on the ARC Linkage Grant Precarious Movements: Choreography in the Museum (2024).

Hannah has completed curatorial residencies in New York, Berlin, Tokyo and Venice, and has taught in curatorial programs at Melbourne University, Monash University and RMIT University, Melbourne. She has held positions on several boards, including the National Association for the Visual Arts, City of Melbourne Arts & Culture and International Art Space, Perth.