Australia has reinstated Lebanese-born artist Khaled Sabsabia and curator Michael Dagostino to represent the country at the 2026 Venice Biennale following a significant controversy surrounding their initial removal in February. This decision, announced Wednesday by Creative Australia, the nation’s arts and cultural funding and advisory body, comes after an external review conducted by Blackhall & Pearl examined the organization’s decision-making processes and risk management strategies. The review’s findings concluded that the Creative Australia board’s actions aligned with its legal obligations, asserting there was ‘no single or predominant failure of process’ in the initial rescinding of the invitation to Sabsabia and Dagostina. However, the report did identify a series of ‘missteps, assumptions, and missed opportunities’ within the organization’s approach. Creative Australia refrained from detailing specifics of these shortcomings, but the reinstatement follows widespread expressions of support for Sabsabia and Dagostina, including the resignations of several Creative Australia staffers who publicly protested the decision.

Creative Australia refrained from detailing specifics of these shortcomings, but the reinstatement follows widespread expressions of support for Sabsabia and Dagostina, including the resignations of several Creative Australia staffers who publicly protested the decision. The controversy originated with renewed attention to Sabsabia’s artwork created in 2006 and 2007. These included a video installation featuring images of Hezbollah leader Hassan Nasralallah during a speech following the 2006 war with Israel, and another compilation of video clips from the September 11, 2001, attacks and former President George W. Bush. Following Creative Australia’s announcement of Sabsabia’s selection, a column in The Australian newspaper raised concerns, questioning Sabsabia’s views on Nasralallah – specifically his use of imagery and symbolism – and highlighting his previous boycott of the 2022 Sydney Festival due to funding from the Israeli Embassy. The article questioned Sabsabia’s intentions and artistic choices, prompting considerable debate.

Sababia and Dagostino released a joint statement following the decision to reinstate them. They expressed renewed confidence in Creative Australia and its selection process, viewing the outcome as a resolution and a foundation for future optimism. The statement acknowledged the personal and collective hardship experienced by the duo and their support network, emphasizing the crucial role of the Australian and international creative community in their resilience and ability to continue their artistic endeavors. The artists underscored the importance of solidarity and encouragement throughout their challenging journey, allowing them to accept the recommission for the Venice Biennale. Notably, investment banker and cultural philanthropist Simon Mordant, who had previously served as an international ambassador for the Australian Pavilion, also returned to his role. Mordant had vehemently criticized the initial removal, describing it as ‘a very dark day for Australia and the arts.’

This complex situation highlights the intersection of artistic expression, political sensitivities, and institutional responsibility, setting the stage for a significant representation at a globally renowned cultural event. The reinstatement represents a pivotal moment, demonstrating a commitment to artistic freedom while navigating challenging ethical considerations within the realm of contemporary art.