Nirin—a word found in the language of the Wiradjuri people, an Aboriginal nation in New South Wales—can be translated as “edge.” The 22nd Biennale of Sydney’s artistic director, Wiradjuri artist Brook Andrew, explains how this concept animates the exhibition: “Nirin is a world of endless interconnected centers; a space to gather and to share, rejoice, disrupt, and re-imagine.” Led for the first time by First Nations artists, this biennale was to be an articulation of Indigenous internationalism, a refusal of the logics of white supremacy, and an assertion of the creativity, generativity, and resistance of First Nations people. The physical exhibition was to encompass the ancestral lands of the Gadigal people of the Eora Nation, the Boorooberongal people of the Dharug Nation, the Dharawal people, the Bidjigal people, and the Gamaygal people. Its sites—including Cockatoo Island, a convict prison that became a shipyard in the middle of Sydney Harbor, and the Art Gallery of New South Wales, which contains a large collection of colonial artworks—were to be central to a curatorial aim to explore the entanglement of dispossession and resistance that emerges from a colonial world-making project, while the artists involved—Arthur Jafa, Tony Albert, Unbound Collective, Latai Taumoepeau, Sammy Baloji, …

One of the most affecting commissions of the 20th Biennale of Sydney is placed out on its own—“in between” its six main venues—at one end of the city’s Botanical Gardens. Archie Moore’s A Home Away From Home (Bennelong/Vera’s Hut) (2016) in part re-imagines the diminutive shelter offered to an Indigenous Australian collaborator in the white settlement of Sydney. It is a believable historical forgery, blending in with, and at the same time dwarfed by, the stately architecture of Government House. A quiet soundtrack of Aboriginal singing accompanied by clapsticks emanating from the otherwise apparently entirely European structure renders poignant its form, scale, and site. If a white Australian expresses the opinion that immigrants should be sent back to where they came from, the appropriate retort is: “So, when are you leaving?” The unprecedented displacement of people today is Stephanie Rosenthal’s starting point for the biennale. Her post-Documenta 11 curatorial process has operated with an informant network of “attachés,” and her thematic elaboration presents the work through seven “Embassies.” Reclaiming the term, the embassies are imagined as “borderless” “safe places,” “transient homes for constellations of thought.” Yet, in a place where Indigenous Australians were not recognized as citizens until as recently as …