The National Art School (NAS) has today announced a major new exhibition, The Neighbour at the Gate, presented at NAS Galleries from 11 July 2025 – 18 October 2025. Led by Wardandi (Nyoongar) and Badimaya (Yamatji) woman and senior curator Clothilde Bullen, and a Curatorium comprising Micheal Do, senior curator of contemporary art at the Sydney Opera House, and Whadjuk Balladong and Wilman Noongar artist and curator Zali Morgan, this world premiere un-knits and unravels the impacts of colonisation, upon First Nations and Asian Australian peoples, highlighting the historical and contemporary parallels of these communities.

The Neighbour at the Gate brings together three First Nations artists and three Asian Australian artists, presenting commissioned and existing works. These artists include: Malaysian-born artist and educator Jacky Cheng whose practice weaves narratives of her ancestral experiences with her new found home; Elham Eshraghian-Haakansson, an Iranian-Australian researcher and video artist exploring inherited stories and post-memory felt by displaced communities; Dennis Golding, a Kamilaroi/Gamilaraay man whose work critiques the social, political and cultural representations of race and identity; Larrakia, Wardaman and Karajarri woman Jenna Lee who challenges concepts of identity through the intersection of language and objects; James Nguyen, a Vietnamese born artist exploring the Vietnamese Australian experience of displacement and diaspora through his incisive and poetic art making; and James Tylor, looking at Australian cultural representations through the perspectives of his mixed heritage comprising Nunga (Kaurna Miyurna), Māori (Te Arawa) and European ancestry.

TarraWarra Museum of Art today announced the title and full artist list for the highly anticipated TarraWarra Biennial 2025, curated by Yorta Yorta woman, writer and curator Kimberley Moulton. Presented from 29 March to 20 July 2025, the exhibition titled We Are Eagles features newly commissioned works by 22 artists who centre regenerative practice and relational transcultural connections to land, object and memory.

Inaugurated in 2006, the TarraWarra Biennial was established to identify new trends in contemporary Australian art through an experimental curatorial platform. The ninth TarraWarra Biennial’s title We Are Eagles, is derived from a speech given at the 1938 Day of Mourning—the seminal south-eastern First Nations political movement held on 26 January on the 150th anniversary of the colonisation of Australia—where activist and change agent Pastor Sir Doug Nicholls KCVO OBE called for equal rights and an end to colonial oppression, stating “we do not want chicken-feed … we are not chickens; we are eagles.”

Anchored in this sentiment and important political moment in the nation’s history, We Are Eagles shares cross-cultural knowledge and stories through a network of regenerative practice that disrupts colonial temporalities. Connecting across cultures, beyond borders and through waterways, sky country and stars, to the totemic eagle and more-than-human connections, the exhibition shares the multiplicity of ways to connect to history, Ancestral knowledge, and expansive futures.