Creative Australia has officially reinstated conceptual artist Khaled Sabsabi as Australia’s representative at the 61st Venice Biennale, following an independent external review into the organization’s controversial earlier decision to remove him. Curator Michael Dagostino has also been restored to his role overseeing the Australian Pavilion.
The reversal marks a major turning point after months of public and institutional outcry. The original dismissal — which came just a week after the pair were announced — drew widespread criticism from the arts community, authors, curators, and the public, many of whom viewed the move as a blow to freedom of expression.
The original decision to withdraw Sabsabi and Dagostino stemmed from concerns raised by some politicians and media figures regarding Sabsabi’s previous artworks, which included imagery related to September 11 and a visual reference to Hassan Nasrallah, leader of Lebanon’s Hezbollah movement. These works, however, dated back nearly two decades and were not part of the upcoming Biennale proposal.
Sabsabi, who is of Lebanese–Australian background, is known for his thought-provoking explorations of spirituality, conflict, and identity. His removal prompted accusations of censorship and cultural insensitivity, particularly given the retrospective nature of the critiques against his work.
The abrupt dismissal triggered a cascade of resignations and institutional consequences. A major museum exhibition of Sabsabi’s work was indefinitely postponed. Staff members at Creative Australia resigned in protest, and board chair Robert Morgan stepped down amid the growing crisis.
Public support for the artist-curator duo was overwhelming. Hundreds signed online petitions demanding their reinstatement. Among these were two notable open letters: one from fellow artists and curators shortlisted for the 2026 pavilion, and another signed by a wide array of respected Australian authors.
The letter from the literary community emphasized the importance of defending artistic freedom and warned against setting precedents that might allow political or ideological interference in arts funding and representation.
The external review, commissioned in the aftermath of the controversy, was obtained by The Guardian. It did not assign blame to any individual within Creative Australia but concluded that the organization had been inadequately prepared for a “potentially divisive controversy.”
“There is an unfortunate irony,” the review noted, “in that many of the flaws in the Biennale selection process stemmed from a strong desire within Creative Australia to keep decisions on artistic merit free from non-artistic considerations.”
The report ultimately recommended a more comprehensive risk assessment framework to better support artistic freedom while managing public and political sensitivities.
In a statement released on July 2, Sabsabi and Dagostino welcomed the decision, expressing gratitude and renewed faith in the selection process.
“This recommissioning reaffirms the integrity of the process and offers a sense of resolution,” they said. “It allows us to move forward with optimism and hope after a period of significant personal and collective hardship.”
Their reinstatement not only represents a course correction by Creative Australia but also reaffirms the importance of protecting artists’ rights to explore challenging and complex themes without fear of political reprisal.
As Australia prepares for the 2026 Venice Biennale, Sabsabi and Dagostino’s reinstatement is being hailed as a victory for the country’s creative community and a reaffirmation of the nation’s commitment to artistic freedom on the global stage.
