The MCA last night became the ‘Embassy of Translation’ for the 20th Biennale of Sydney. Kind of like an embassy of thoughts, and about letting people in, the nature of the embassy, and then a consideration about what if the land owned us and how that would be – as it does in Australia. And so there is an ‘Aboriginal tent embassy’, by Richard Bell right out side on the forecourt, on the land where fishing and hunting was once a way of life for the Gadigal people but is now all monster ships in port with their happy shiny go-go cargo of people disembarking. The Bienniale is one big exhibition all over the city though. There are 17 venues all up with an embassy of spirits, and an embassy of disappearance; there is art to be found in a cemetery and a bookshop and a warehouse. 80 artists all up from 34 countries. This is the joy of exploring Sydney and of thinking critically. New works. Think. Think. Art in the environment. Enter the moment. And so Daniel Boyd has new works in the MCA, all untitled. Ephemeral ghostly. An urgency. There is a room devoted to the sewn/almost quilt like work by Noa Eshkol. This is a safe place for unsafe ideas, the work by Celine Condorelli ‘Structure for Communicating with Wind’ is a metallic space blanket fanned by an electro fan – a conduit of what not’s seen and heard – how cool is that. The explored theme of the Biennale is ‘The future is already here – it’s just not evenly distributed’ and is quite genius as who knows in all this objectivity, subjectivity and blah blah of a life well lived what is here and now… Go enjoy what Stephanie Rosenthal, curator of the Biennale and chief curator of London’s Hayward Gallery, has grappled with for our fair city. It’s good.