A review of the 13th Sydney Biennale in 2002. Daniel Palmer found the show "patchy but thought-provoking." Perhaps because the artist Richard's Grayson had creative control over the show, the subject of the show seemed to be "the often idiosyncratic and obsessive nature of artistic creativity," where nationality of the artist was generally not a factor. Notable exceptions were Jun Nguyen-Hatsushiba's video of underwater bicycle richshaw riders that evoked the plight of Vietnames boat people; Simryn Gill's photographs, and Do-Ho Suh's fine sheets of translucent nylon. Despite these works and the broad range of the strange, "many of the works felt curiously drab and museified--several relied on extensive texts to unravel their intense hermetic alternative worlds."
This article was accessed on 8 April 2009 at http://www.frieze.com/issue/print_back/sydney_biennale/
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