Anna Schwartz, one of Australia's most influential contemporary art dealers and gallerists, has made a significant announcement about her future during an exclusive lunch interview. The avant-garde cultural figure, known for her eponymous gallery on Flinders Lane, revealed major changes ahead while expressing mild frustration with the interview process itself, playfully telling the interviewer, "You're turning me into a liar."

The announcement came during a carefully orchestrated lunch meeting at Gimlet, an upscale restaurant located just down the street from Schwartz's renowned gallery. The interview-averse gallerist, who is known to dislike media appearances and was reportedly dreading this particular encounter, had chosen the restaurant's rear table for its commanding view of both the dining area and kitchen. Her selection of the venue was no coincidence, as Schwartz maintains close personal relationships throughout Melbourne's cultural scene, including with Gimlet owner Andrew O'Connell.

True to her sophisticated reputation, Schwartz had already ordered a glass of Haslinger Brut champagne, priced at $34, before the interview began. The choice reflected both her refined taste and the significance of the occasion, with the gallerist noting that "it'd be rude not to join" in what appeared to be a celebratory moment despite her apparent nervousness about the media attention.

Schwartz has established herself as one of the biggest names in contemporary art, building a reputation that extends far beyond her Melbourne gallery space. Her influence in the art world has made her supremely well-connected within cultural circles, and her gallery has become a cornerstone of Australia's contemporary art scene. The nature of her major life change and future plans represents a significant development for the local and national art community.

The timing of this announcement appears deliberate, with Schwartz choosing to break her usual media silence to share what she describes as important news about her future direction. Her reluctance to engage with interviews makes this revelation all the more noteworthy, suggesting the magnitude of whatever changes lie ahead for the influential cultural figure and her established art enterprise.