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Preface vii <p>Introduction 3</p> <p><b>Part 1 The SecondWave</b></p> <p>1 1972: The Rise of the Star-Curator 19</p> <p>2 1979: Cultural Translation, Cultural Exclusion, and the Second Wave 49</p> <p>3 1986: The South and the Edges of the Global 81</p> <p><b>Part 2 The Politics of Legitimacy</b></p> <p>4 1989: Asian Biennialization 111</p> <p>5 1997: Biennials, Migration, and Itinerancy 145</p> <p><b>Part 3 Hegemony or a New Canon</b></p> <p>6 2002: Cosmopolitanism 183</p> <p>7 2003: Delegating Authority 209</p> <p>8 2014: Global Art Circuits 241</p> <p>9 Conclusion 272</p> <p>Index 279</p>

<p><i>"Biennials, Triennials and Documenta</i> is an excellent introduction to the history of the globalization of biennials or biennalization. Green and Gardner cover all major biennial-type events and their constellations that emerged on the five continents: Documenta, Manifesta, Tirana, and Venice Biennales, among others, in Europe; in South America, the São Paulo Bienal and Bienal de La Habana; the Johannesburg Biennale in Africa; the Biennale of Sydney and Asia-Pacific Triennial, among others, in Australia; and Gwangju, Shanghai, and Istanbul Biennials in Asia." - <i>H-Net:  Humanities and Social Science Reviews Online</i>, July 2019</p> <p> </p>

<p><b>Charles Green</b> is Professor of Contemporary Art at the University of Melbourne. He is the author of <i>The Third Hand: Artist Collaborations from Conceptualism to Postmodernism</i> (2001) and <i>Peripheral Vision: Contemporary Australian Art 1970-94</i> (1995) and co-author of <i>Framing Conflict: War, Peace and Aftermath</i> (2014, with L. Brown and J. Cattapan). As Adjunct Senior Curator of Contemporary Art at the National Gallery of Victoria he co-curated <i>Fieldwork: Australian Art 1968-</i>2002 (2002), <i>world rush_4 artists </i>(2003), <i>2004: Australian Visual Culture Now </i>(ACMI/NGVA, 2004), and <i>2006: Contemporary Commonwealth </i>(ACMI/NGVA, 2006). Green is also an artist working in collaboration with Lyndell Brown since 1989.</p> <p><b>Anthony Gardner</b> is Associate Professor in Contemporary Art History and Theory at the Ruskin School of Art at the University of Oxford. He is the author of <i>Politically Unbecoming: Postsocialist Art Against Democracy </i>(2015), the editor of <i>Mapping South: Journeys in South-South Cultural Relations </i>(2013) and a co-editor of the journal <i>ArtMargins</i>.</p>

<p>In this engaging and insightful new treatise, Charles Green and Anthony Gardner examine in-depth the history and popularization of large-scale international survey exhibitions, or "biennials", and their impact on contemporary art since the 1950s. From the 1972 director-driven <i>documenta 5</i> at Kassel to the rise of mega-exhibitions across Asia in the 1990s and 2000s, and the renewed ascendancy of gargantuan biennials in the 21^st century, <i>Biennials, Triennials and Documenta</i> offers a comprehensive history of biennialization that is global in scope. In addition to interrogating specific curatorial models and methods, Green and Gardner use the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art.</p> <p>With a comprehensive global array of case studies seamlessly connected through shrewd narrative analysis, this innovative new book will be essential reading for curatorial and museum studies students and scholars, aspiring curators, gallerists, and all those interested in the exhibition of contemporary art.</p>

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