With the arrival of spring, the sluggish wintry gloom that often descends over the Australasian art market is lifting. Amidst global instability and economic challenges, it’s a critical week in the art world’s calendar. From 11-14th September, Sydney Contemporary enlivened Carriageworks, the striking heritage-listed, multi-arts centre, with a dynamic showcase of contemporary art.
This ninth edition featured 116 exhibitors (seven of which have taken multiple booths across different sectors), spanning emerging to established galleries and secondary market dealers from Australia and New Zealand, with a smattering of international representation. The Fair is divided into sectors – Galleries, Future, Works on Paper and the newly introduced Photo Sydney. For photography enthusiasts, compelling offerings from renowned contemporary artists working in the medium include: Bill Henson at Roslyn Oxley9 Gallery; 2026 New Zealand Venice Pavilion artist Fiona Pardington at 1301SW; and Petrina Hicks, Narelle Autio and Trent Parke alongside 20th Century icons including Max Dupain and Olive Cotton at Michael Reid Galleries.
Upon entry to Carriageworks, visitors were welcomed by a spectacular, site-specific kinetic installation titled A N Z A C, by Aotearoa artist Lisa Reihana CNZM. Wholly commissioned by Sally Dan-Cuthbert Gallery, the work comprises thousands of shimmering discs forming a dazzling waharoa, a traditional Māori gateway, and a pare, or door lintel, that serves as a boundary marker. As Dan-Cuthbert states: “A most ambitious artwork, yet glamorous, setting the tone. A N Z A C represents a significant artistic and cultural opportunity that will enrich the site, stimulate dialogue, and contribute meaningfully.”
Established and returning galleries maintain a strong presence. Many showcase innovative, design-conscious booths, and invest significantly in their environments to present their artist’s work in an ambitious light. Michael Reid OAM states: “We want to create a wow factor. It is not hubris; we are savvy. Leveraging engineering expertise, this year we are designing a built environment that takes advantage of our multi-directional aspect and sightlines. Through a window into the booth, visitors will view a new Gaypalani Wanambi from both sides.” The 2025 Telstra-award winning Yolgnu artist has created a remarkable two-by-two metre multi-panelled painting comprising of etched found road signs from Yirrkala, Northern Territory.
Auckland’s Michael Lett presented the most conceptual yet approachable booth design – a clever supermarket-inspired layout with aisles where objects can be handled and admired. This cash-and-carry, tongue-in-cheek approach presents Sydney-based artist Mike Hewson’s Geopets – 200 unique sculptures made from reconfigured vitrified construction bricks adorned with crystals, rare gems and homewares, priced by weight at $299 per kilogram and packaged in custom, designed-for-life shopping bags. A timely prelude to Hewson’s upcoming new Tank commission at the Art Gallery of New South Wales in October, Andrew Thomas, co-Director of Michael Lett notes: “It felt like the right time to revisit Sydney after being absent in recent years, to reconnect with clients and institutions.”
Indigenous art continues to feature prominently – Hugo Michell Gallery presenting the sublime work of Yolngu artist Garawan Waṉambi, and D’Lan Contemporary’s secondary market offering of works by Ms N Yunupiŋu, Midpul (Prince of Wales) and Kitty Kantilla. Utopia Art Sydney will feature a rare 2008 work by senior Papunya Tula Artist Ronnie Tjampitjinpa priced at AU$500,000. As Director Chris Hodges states: “His works are often full of bravado, bold, striking and resonant; this is one of his most subtle and meaningful paintings that takes its subject from the great salt lake Wilkinkarra.”
Solo presentation highlights included Louise Olsen at OLSEN Gallery; Dale Frank’s new paintings and taxidermy cow sculpture at Gow Langsford Gallery; Angela Brennan’s abstract paintings, ceramics and bronze at The Commercial, and Michael Georgetti’s new paintings at The Renshaws. Further, group presentation highlights include Neon Parc’s commitment to pushing boundaries through new and historical works by Colleen Ahern, David McDiarmid, Rob McLeish and Darren Sylvester, with a series of striking sculptures by emerging artist Hugo Blomley; Fine Arts, Sydney will present works by Kate Newby, Francis Upritchard and Ricky Swallow; and Auckland’s Two Rooms returns with gravitas, showcasing works by Gretchen Albrecht, Helen Calder, Jude Rae and Marie Le Lievre’s compelling abstractions.
Related: Design discussions at Saturday Indesign 2025
The always highly anticipated Installation Contemporary program captivated audiences with nine ambitious projects. Da Silva states: “These are generous, site-aware projects that reward close attention.” Occupying significant space, Jonny Niesche, collaborating with Mark Pritchard, will stage a new iteration of an immersive environment that draws on colour field painting’s atmospheric qualities combined with low-frequency sound and vibration, resulting in a deeply embodied experience. Additional highlights included projects by Augusta Vinall Richardson and Gemma Smith.
The comprehensive programming extended to Performance Contemporary featuring Dr Christian Thompson AO, whose work explores notions of identity, cultural hybridity and history. On Thursday’s Art Night, Thompson presented Recital, a powerful reclamation of his family’s endangered Bidjara language through vocalisation and recorded sound. Moreover, for architecture and design-focused audiences, an insightful conversation discussing optimal spatial presentation of art in a range of varied environments took place on Friday 12th September featuring Charlotte Wilson, Co-Head of Interiors at SJB; William Smart, Founder of Smart Design Studio and leading Melbourne-based architect Kerstin Thompson in conversation with Stephen Todd, Design Editor of the Australian Financial Review.
Whilst contemplating acquisitions over a glass of Pommery in the VIP Terrace Lounge featuring Coco Republic’s relaxed yet sumptuous interior design, visitors admired the Artists by Artists exhibition curated by Arts Matter, showcasing thirty works from co-Founder Michelle Grey and Susan Armstrong’s forthcoming Thames & Hudson publication. For those seeking respite from the visual overload of the fair, stalwart gallery Fox Jensen opened their new impressive, museum-scaled Sydney premises in Alexandra with an exhibition titled Plastic Soul.
There is optimism in the air. As Sullivan+Strumpf co-Director Joanna Strumpf echoes the frisson of excitement that fairs bring: “Our previews have been so busy; lots of people flying in for the Fair, and those who can’t attend are still buying out of FOMO.” With its thought-provoking installations, innovative booth designs, ambitious artists putting their best foot forward and dynamic programming, Sydney Contemporary 2025 offered multiple entry points for both seasoned collectors and new art enthusiasts alike.
