http://www.biennaleofsydney.art/

Biennale of Sydney, 10 Hickson Road, Sydney (2026)

07/10/2026

Across diasporas, time and place, Inside the Mirage brings together artists whose work explores the stories, histories and lived experiences that shape how we see the world.

Curated by James Lynch at TarraWarra Museum of Art, the exhibition brings works from the Museum’s collection into dialogue with contemporary practices, including work by William Yang, who participated in the 24th Biennale of Sydney.

Known for a photo-based practice spanning more than five decades, William’s work explores identity, community and belonging, including reflections on Sydney’s q***r scene, Chinese-Australian heritage, memory and place.

Inside the Mirage is on view at TarraWarra Museum of Art until 1 November 2026.

Images: 1. William Yang at White Bay Power Station for the 24th Biennale of Sydney (2024) Media Preview. Photograph: Dan Boud. 2. Left to right: Martin Wong, Mintaka, 1990; Ferocactus peninsulae v. viscainensi, 1997-98. Courtesy Sunpride Foundation, Hong Kong.; Untitled 1990. Courtesy William Lim c/o Living Limited.; Mi Vida Loca 1991. Courtesy Sunpride Foundation, Hong Kong.; A Near Miss 1983; Saturday Night 1992. Courtesy William Lim c/o Living Limited; Esmeralda: Songs for the Hearing Impaired 1982. Courtesy Alan Lau; LA2 – Malicious Mischief (collaboration with LA II) 1997. Courtesy William Lim c/o Living Limited © Estate of Martin Wong and P.P.O.W. Presentation at the 24th Biennale of Sydney was made possible with generous support from Terra Foundation for American Art and the assistance of William Lim, Living Limited; William Yang, Malcolm Cole. Circa 1976, Glebe, 1976 (reprinted 2024); On tour after hours, 1976 (series); Forward to the Dreamtime performance. Sydney Opera House, 1975 (series); Workshop by Erik Mariko, Arthur Keibsu and Peter Kikaki, Glebe Studios, 1976 (series). Presentation at the 24th Biennale of Sydney was made possible with generous assistance from Simon Chan AM, Art Atrium. Courtesy the artist and State Library New South Wales © William Yang. Installation view, 24th Biennale of Sydney, Ten Thousand Suns, 2024, Chau Chak Wing Museum, University of Sydney. Photograph: David James. 3. Left to right: William Yang, My Uncle’s Murder Series, 2008. Presentation at the 24th Biennale of Sydney was made possible with generous assistance from Simon Chan AM Art Atrium. Courtesy the artist © William Yang. Agnieszka Kurant, Post-Fordite 7, 2020. Collection Hartwig Art Foundation. Promised gift to the Rijksdienst voor het Cultureel Ergdoed / Rijkscollectie. Courtesy the artist © Agnieszka Kurant. Installation view, 24th Biennale of Sydney, Ten Thousand Suns, 2024, UNSW Galleries. Photograph: Jacquie Manning.

07/10/2026

WIN A MALDIVES ESCAPE FOR TWO 🌴

Ready to trade Sydney for seven nights in paradise?

We’ve teamed up with Club Med to give one lucky winner the chance to experience a seven-night escape for two at Club Med Kani, a private island retreat in the Maldives’ North Malé Atoll valued at $10,000.

The prize includes Club Med’s premium all-inclusive experience, with accommodation, gourmet dining and all-day snacks, an open bar, and a wide range of activities including snorkelling, sailing, kayaking and padel — plus daily entertainment.

All you need to do is arrive, unwind and enjoy.

Entries close Tuesday 16 March 2027 at 5pm.

Head to https://pages.wordfly.com/biennalesydney/pages/Club-Med-competition/ and complete the form to enter. Good luck!

T&Cs apply.

06/10/2026

A 15-metre wall becomes a canvas for story, culture and imagination.

John Prince Siddon’s Worra Munga! Ernie and Bert Dreamtime voice (2026) transforms the foyer wall at the Museum of Contemporary Art Australia (MCA) into a vibrant large-scale painting.

Drawing on the artist’s practice and First Nations storytelling, the work brings together popular cultural references with Indigenous perspectives, inviting audiences to look again at the stories and images that surround us.

The work is currently on view at the MCA.

Images: 1 - 2. John Prince Siddon, Worra Munga! Ernie and Bert Dreamtime voice, 2026, commissioned by the Museum of Contemporary Art Australia, 2026, courtesy of the artist and Mangkaja Arts, photograph: Hamish McIntosh. 3. John Prince Siddon. 25th Biennale of Sydney, Rememory, 2026, White Bay Power Station. Photograph: Mark Pokorny

06/10/2026

Spring has arrived, and Sydney’s galleries are blooming with exhibitions to explore.

If you’re looking for your next art fix, Broadsheet Sydney’s latest gallery guide, In the Galleries: Nine Art Exhibitions To See in (and Around) Sydney in Spring, rounds up nine exhibitions to add to your list.

Among them is Tony Albert’s Not a Souvenir at the Museum of Contemporary Art Australia, a landmark exhibition examining the commodification and exploitation of Aboriginal culture through more than 3,000 pieces of “Aboriginalia”.

Also featured is Heather B Swann’s The Forests of Symbols at UNSW Galleries, bringing together new and rarely seen works across sculpture, painting and drawing, alongside exhibitions at galleries and institutions across Sydney and beyond.

Whether you’re revisiting a favourite artist, discovering someone new or looking for an excuse to spend a spring afternoon exploring the city, there’s plenty to see.

View the full list of art exhibitions: https://www.broadsheet.com.au/sydney/art-and-design/article/sydney-art-exhibitions

Images: 1. Installation view, Tony Albert Not a Souvenir, Museum of Contemporary Art Australia, Sydney, 2026, photograph, Ravyna Jassani. 2. Installation view of Infinite Scroll, Photo Courtesy of Chau Chak Wing Museum, David James. 3. Installation view, Awirankini Jilamara kapi purinjirringuwi new designs on wood, 2026, Photo Courtesy of Station Gallery. 4. Installation view, Heather B Swann The Forests of Symbols, 2026 Photo Courtesy of UNSW Galleries, Jacquie Manning.

04/10/2026

What does it mean to belong to a place and how might art change the way we understand our relationship with the land?

The Woods Before Sunrise: Environment and Place in New Mexico’s Black Contemporary, co-curated by artist Nikesha Breeze and Albuquerque Museum Assistant Curator William Gassaway, brings together the work of nine contemporary artists exploring landscape, sustainability, cultural history, place and belonging.

Following her participation in the 25th Biennale of Sydney, Nikesha returns to a curatorial role with an exhibition that centres the unique and multifaceted Black experience in New Mexico, bringing together practices shaped by personal connections to nature and the local landscape.

Featuring work by Breeze alongside Ron Adams, Noé Barnett, Maurice Burns, Karsten Creightney, Jakia Fuller, Jackie Mitchell Edwards, Rein Whitt-Pritchette and Paula Wilson, The Woods Before Sunrise is on view at Albuquerque Museum until 18 October 2026.

Images: 1. Nikesha Breeze, Vault Magazine, Issue 52. 2 - 4. Albuquerque Museum.

02/10/2026

"It was a really special Biennale, it meant a lot to me. I felt like I was being invited to witness different experiences and hardships of life and to engage with them, learn, reflect, develop and change because of them. It's so great that for the most part, it's free. Thank you so much." 25th Biennale audience member.

Contemporary art can open up space for us to encounter experiences beyond our own, to listen, learn, reflect and perhaps leave with a new perspective.

For some, the 25th Biennale helped them see the world differently. That's the power of contemporary art.

Thank you to everyone who shared their experiences of the 25th Biennale of Sydney with us.

01/10/2026

A remarkable archive spanning more than four decades of artistic practice has found a new home in Sydney.

Tracey Moffatt, who participated in the 24th Biennale of Sydney, has celebrated the donation of her archive to the Chau Chak Wing Museum at the University of Sydney. Chau Chak Wing Museum, University of Sydney

The extraordinary gift includes an edition of every photographic work, film and video produced by Moffatt since 1985, alongside thousands of documents and archival materials. It marks the first donation of its kind to an Australian museum.

The exhibition offers audiences a rare glimpse into the ideas, materials and moments behind one of Australia’s most significant contemporary artistic practices.

Tracey Moffatt Sorted - a look at her Archive is on view at the Chau Chak Wing Museum until 4 September 2027.

Images: 1. Tracey Moffatt. Photography: Dara Gill. 2. Tracey Moffatt and Gary Hillberg, Doomed, 2007. Presentation at the 24th Biennale of Sydney was
made possible with generous support from a grant from Open Society Foundations Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2008. Courtesy the artist, Museum of Contemporary Art Australia, and Roslyn Oxley9 Gallery, Sydney © the artist and Roslyn Oxley9 Gallery, Sydney. Installation view, 24th Biennale of Sydney, Ten Thousand Suns, 2024, Museum of Contemporary Art. Photograph: Hamish McIntosh. 3. Tracey Moffatt and Gary Hillberg, Doomed, 2007. Presentation at the 24th Biennale of Sydney was made possible with generous support from a grant from Open Society Foundations Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2008. Courtesy the artist, Museum of Contemporary Art Australia, and Roslyn Oxley9 Gallery, Sydney © the artist and Roslyn Oxley9 Gallery, Sydney. Installation view, 24th Biennale of Sydney, Ten Thousand Suns, 2024, Museum of Contemporary Art. Photograph: Hamish McIntosh.

30/09/2026

Another biennale, another exciting chapter for Citra Sasmita.

A former participant in the 24th Biennale of Sydney, Citra will be part of the 2026 Asian Art Biennial, opening at the National Taiwan Museum of Fine Arts from 7 November. Themed Mrahul Tminun・共織・Co-Weaving, the biennial brings together artists and collectives exploring relationships between people, history and the world, with a focus on perspectives including women, Indigenous peoples and q***r communities.

It’s exciting to see Citra’s practice continue to unfold across international platforms and reach new audiences.

Images: Citra Sasmita. Photography: Gus Agung, Niskala Studio. 2. Citra Sasmita, Timur Merah Project X: Bedtime Story 2023. Commissioned by the Biennale of Sydney with generous support from the Australia-Indonesia Institute. Citra Sasmita, Timur Merah Project IV: Tales of Nowhere, 2020. Commissioned by UOB for Children Art Space MACAN Museum Jakarta, Indonesia. Courtesy the artist and Yeo Workshop, Singapore © Citra Sasmita. Installation view, 24th Biennale of Sydney, Ten Thousand Suns, 2024, Chau Chak Wing Museum, University of Sydney. Photograph: David James. 3. Citra Sasmita, Timur Merah Project X: Bedtime Story 2023. Commissioned by the Biennale of Sydney with generous support from the Australia-Indonesia Institute. Courtesy the artist and Yeo Workshop, Singapore. Citra Sasmita, Timur Merah Project IV: Tales of Nowhere, 2020. Commissioned by UOB for Children Art Space MACAN Museum Jakarta, Indonesia. Courtesy the artist and Yeo Workshop, Singapore © Citra Sasmita. Installation view, 24th Biennale of Sydney, Ten Thousand Suns, 2024, Chau Chak Wing Museum, University of Sydney. Photograph: David James.

29/09/2026

What marks do we leave behind, and how are those traces carried through time?

Marking the Dust, curated by Dennis Golding who participated in the 25th Biennale of Sydney, brings together four artists whose practices reflect on how we move with, remember and belong to place.

Among those participating is Carmen Glynn-Braun, who also took part in the 25th Biennale of Sydney, alongside Armando Chant, Isabella Kennedy and Kyra Kum-Sing.

Taking inspiration from the movement of dust, how it settles, shifts, gathers and disperses - Marking the Dust considers the cycles of transformation that shape both people and place.

Marking the Dust is open until 7 November.

Find out more: https://www.fcmg.nsw.gov.au/Exhibitions/Current-Upcoming-Exhibitions/Marking-the-Dust-curated-by-Dennis-Golding

Images: 1. Dennis Golding. 25th Biennale of Sydney, Rememory, 2026, White Bay Power Station. Photograph: Daniel Boud. 2. Carmen Glynn-Braun. 25th Biennale of Sydney, Rememory, 2026, White Bay Power Station. Photograph: Mark Pokorny. 3. Fractured Path (Surface), 2026 by Armando Chant. Photography: Felipe Olivares 4. To Come Full Circle, 2026 by Carmen Glynn-Braun. Photography: Felipe Olivares.

28/09/2026

A monumental new commission invites audiences to step inside a story.

Following participation in the 24th Biennale of Sydney, Eric-Paul Riege is presenting jaatłoh4Ye’iitsoh [21–22] as part of the Nevada Museum of Art’s expansive exhibition Into the Time Horizon.

The soft sculpture installation features gigantic black-and-white earrings created for Ye’iitsoh, the big god from Diné creation stories. Suspended from the ceiling at more than ten feet tall, visitors are invited to walk through the installation and gently touch — and be touched by — the sculptures.

The work is presented within Listening to the Land, a section exploring Indigenous ecological knowledge, care and relationships with the natural world.

Into the Time Horizon is on view at the Nevada Museum of Art through 21 February 2027.

Images: 1. Eric-Paul Riege at Artspace for the 24th Biennale of Sydney (2024) Media Preview. Photograph: Dan Boud. 2 - 4. Installation views featuring 𝘫𝘢𝘢𝘵ł𝘰𝘩4𝘠𝘦’𝘪𝘪𝘵𝘴𝘰𝘩 [21-22], 2025, by Eric-Paul Riege. Mixed organic and synthetic fibers, 121 x 60 x 16 inches each. Courtesy of the artist and Bockley Gallery. 𝘐𝘯𝘵𝘰 𝘵𝘩𝘦 𝘛𝘪𝘮𝘦 𝘏𝘰𝘳𝘪𝘻𝘰𝘯: 𝘓𝘪𝘴𝘵𝘦𝘯𝘪𝘯𝘨 𝘵𝘰 𝘵𝘩𝘦 𝘓𝘢𝘯𝘥, January 31, 2026–February 21, 2027. Nevada Museum of Art, Reno. Courtesy Nevada Museum of Art. Photo: Asa Gilmore.

Biennale of Sydney

07/10/2026

07/10/2026

06/10/2026

06/10/2026

04/10/2026

02/10/2026

01/10/2026

30/09/2026

29/09/2026

28/09/2026

Address

Telephone

Website

Alerts

Contact The Organization

Shortcuts

Share

Listing takedown request