news.artnet.com: As I write, I am in a hotel in Riyadh, Saudi Arabia’s capital. For three years running, I have found myself visiting the country in February, and this is my second trip to the Middle East this month alone. In early February, I attended the 16th Sharjah Biennial, the longest-running contemporary art biennial in the Gulf. With its pleasant end-of-winter weather, the region has become a frequent destination for international art professionals.
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I’ve always known about places like the Louvre Abu Dhabi or Art Dubai, but seeing how intentional and strategic these countries have been in making art a core part of their national identity and economy—especially Saudi Arabia—is wild in the best way. The fact that they’re not just building museums but hosting biennials, launching artist-focused initiatives like Diriyah Art Futures, and integrating land art into places like AlUla? It feels like they’re not just catching up—they’re setting the pace. What really stands out to me is how art is being treated as more than just decoration—it’s policy. It’s diplomacy. It’s a way to redefine how these countries are seen on the global stage. And for artists, that opens up a whole new world of opportunity and visibility. I mean, Saudi Arabia is hosting exhibitions that travel to Beijing and collaborating with major institutions like UCCA in Shanghai? That’s a huge shift. Watching the Gulf States evolve into global arts destinations reminds me that the art world is always shifting—and we have to stay curious and open to where it’s going next.
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