Sydney Biennale criticised for one-sided anti-Israel focus
The 2026 Biennale of Sydney, which will open this Saturday, is facing criticism following claims in many artworks, exhibition texts, and related statements that Israel is committing genocide in Gaza. This has raised questions about political bias in one of Australia’s major publicly funded arts festivals.
Critics argue that certain participating artists have presented accusations of genocide as established fact in official exhibition materials and public comments, rather than as contested views. This has led to increased examination of the event’s curatorial choices and the backgrounds of involved artists.
Previous Sydney Biennale at White Bay Power Station
The program features 83 artists and collectives from 37 countries. Reports have observed that 47 of the artists are Arab or Muslim and no artists from Israel are included. The sole Jewish artist mentioned in coverage is Iraqi-American Michael Rakowitz, known for his longstanding critique of Israeli policies.
In January, Jewish community organisations raised concerns about the direction of the exhibition and sought a meeting with artistic director Hoor Al-Qasimi to discuss her past political statements and the program’s perceived ideological tilt.
The NSW Jewish Board of Deputies said it wanted to address fears that the exhibition could contain divisive or inflammatory content. The Biennale declined a direct meeting with Al-Qasimi and instead offered discussions with senior executives and board members.
Criticism of the Biennale has also come from the Combat Antisemitism Movement, which argued that the festival’s programming crosses a line by presenting highly contested accusations against Israel as fact.
The organisation said explanation cards and official materials refer to “the genocide in Gaza” and “the genocide in Palestine”, warning that presenting such claims in a publicly funded cultural institution risks legitimising one-sided narratives about the conflict.
The group said the festival will open “amid controversy after exhibits and official materials accused Israel of committing genocide in Gaza”, highlighting what critics see as a broader pattern of anti-Israel messaging within the exhibition.
The Biennale of Sydney is a prominent international contemporary art festival held biennially at various venues across Sydney. The 25th edition, titled “Rememory,” runs from March 14 to June 14, 2026.
Attention has also focused on the Biennale’s links with institutions in the Arab world. Among its partners is the Sharjah Art Foundation, the influential UAE cultural organisation founded and led by artistic director Hoor Al-Qasimi, which works closely with the government of the Emirate of Sharjah.
Attention has also focused on the Biennale’s links with institutions in the Arab world. Among its partners is the Sharjah Art Foundation, the influential UAE cultural organisation founded and led by artistic director Hoor Al-Qasimi, which works closely with the government of the Emirate of Sharjah. The Biennale’s network of collaborators also includes galleries and cultural institutions across the Middle East and North Africa, reflecting the strong presence of Arab artists and curatorial connections in the 2026 exhibition.
Hoor Al-Qasimi, artistic director of the 2026 Biennale of Sydney and daughter of the ruler of Sharjah in the (photo: Sharjah Art Foundation cc)
The Biennale’s network of collaborators also includes galleries and cultural institutions across the Middle East, reflecting the strong presence of Arab artists and curatorial connections in the 2026 exhibition.
One highlighted example of anti-Israel bias is a project by Turkish artist Aysenur Kara, whose description notes an aim to “platform those facing genocide in Gaza right now”. Detractors contend that this phrasing presents the allegation as undisputed within the festival context.
Iranian-Australian photographer Hoda Afshar has also drawn attention for public statements referencing “genocide in Palestine.” Afshar has previously voiced criticism of Israel and is linked to artists advocating for Palestinian causes.
Artistic director Hoor Al-Qasimi has come under particular focus due to her prior public statements on Israel and Palestine.
Al-Qasimi, who directs the Sharjah Art Foundation in the UAE and is the daughter of Sharjah’s ruler, has shared messages accusing Israel of genocide and stating that “none of us will be free until Palestine is free.”
Attention has also turned to past comments by her father, Sheikh Sultan bin Muhammad Al-Qasimi, who once referred to the “Zionist presence in Palestine” as a “cancerous growth.”
Representatives from the Jewish community sought meetings with Al-Qasimi prior to the opening to address their concerns. Instead, organizers facilitated discussions with senior staff and later extended an invitation for a Jewish community representative to preview the exhibition before its public launch.
Additional controversies involving individuals connected to the Biennale have heightened the debate.
Palestinian-Australian artist Feras Shaheen, linked to the event, previously posted content on social media comparing Zionists to Nazis and including images of Jewish philanthropists Morry Schwartz and John Gandel.
Separately, Bhenji Ra, who had served as an ambassador for the Biennale’s ArtSeen fundraising initiative, resigned following backlash over social media posts endorsing provocative slogans, such as “Death to the IDF.” This prompted some politicians and community figures to question the festival’s continued public funding.
As a not-for-profit organization, the Biennale relies on a mix of government grants, philanthropic donations, and corporate sponsorships. Government support is substantial, with contributions from Create NSW (on behalf of the NSW government) and Creative Australia (federal level). In 2026, the NSW government allocated approximately $1.6 million, while Creative Australia provides around $879,000 annually.
Private funding from donors, foundations, and sponsors supplements this structure, which is typical for major international arts festivals.
The controversy at the Biennale mirrors broader global debates in the cultural sector since the October 7, 2023, Hamas attacks on Israel and the ensuing Gaza conflict.
Institutions worldwide, including museums, festivals, and universities, have encountered disputes over alleged antisemitism, political activism, and the boundaries of artistic freedom. Some critics view certain cultural spaces as vehicles for anti-Israel narratives, while others defend artists’ right to express political perspectives.
The controversy has ultimately focused on the curatorial direction set by artistic director Hoor Al-Qasimi. Critics say the prominence of artists accusing Israel of genocide, the absence of Israeli voices, and the repeated use of inflammatory language in exhibition material point to an extreme ideological tilt.
For them, the pattern reflects not isolated statements but a curatorial approach that places strongly anti-Israel narratives at the centre of a publicly funded festival.
The NSW Jewish Board of Deputies has been asked for comment.
