Creative Australia, the federal government’s key arts funding and advocacy body, has been plunged into controversy since its board voted in February to rescind the 2026 Venice Biennale commission from Lebanese-Australian artist Khaled Sabsabi and curator Michael Dagostino. That decision sparked widespread condemnation from artists, writers, academic institutions and political figures who accused the board of censorship and failing to uphold principles of artistic freedom. Two weeks after the vote, Creative Australia chair Robert Morgan and chief executive Adrian Collette faced a grilling at a Senate estimates hearing, where they admitted the board’s primary motivation was to avert “a prolonged and divisive debate” rather than address any substantive concern about the artwork itself.
Key figures, including more than 600 Australian writers, publishers and academics, signed an open letter accusing the board of betraying the agency’s integrity. In response, the federal government commissioned an independent review to examine Creative Australia’s governance processes and the circumstances that led to the Biennale withdrawal. It is against this fraught backdrop that Robert Morgan, who has chaired the board since its establishment in 2021 following the transition from the Australia Council, has announced his intention to retire. The First Nations playwright and director Wesley Enoch will assume the role of acting chair and is widely expected to be confirmed as Morgan’s successor.
Robert Morgan’s Tenure and Legacy
Steering Creative Australia Through Structural Reform
Robert Morgan was appointed chair of the Australia Council’s governing body in 2021, then oversaw its transformation into Creative Australia as part of the federal government’s national cultural policy, Revive. Under his stewardship, the organisation introduced new grant programs aimed at boosting regional arts, Indigenous-led initiatives and First Nations storytelling. Morgan championed partnerships with state and territory arts agencies and promoted programs designed to foster diversity and inclusion across the sector.
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“I have great confidence Creative Australia will continue to deliver its mandate to support Australia’s rich and diverse cultural life for all Australians under Wesley’s leadership,” Morgan said in a statement acknowledging his imminent departure. He noted that guiding the organisation through its transition and implementing Revive’s recommendations had been among the greatest honours of his career.
Despite these achievements, Morgan’s term has been overshadowed by the Sabsabi episode—the first major test of the new board’s governance. Critics point out that in seeking to avoid controversy, the board appeared to lack the courage to defend an artist’s right to represent Australia on the world stage. The independent review, led by former public servant Kate Jenkins, will scrutinise whether board processes were appropriately rigorous and transparent, and whether decisions were made in accordance with Creative Australia’s charter and public commitments.
Wesley Enoch Steps In as Acting Chair
First Nations Playwright Poised to Heal Divisions
With Morgan’s retirement, the arts minister Tony Burke announced that Wesley Enoch will immediately take on the chair’s responsibilities in an acting capacity. Enoch, a celebrated Indigenous playwright, director and former artistic director of the Sydney Festival, brings extensive leadership experience in both mainstream and community arts organisations. He is widely admired for his advocacy of First Nations voices and his commitment to reconciliation through the arts.
Enoch’s appointment has been welcomed by many in the sector as a crucial step toward rebuilding trust. “Wesley’s understanding of the challenges faced by underrepresented communities, coupled with his proven ability to navigate complex cultural debates, makes him the ideal person to guide Creative Australia through this critical juncture,” said Arts Minister Tony Burke. While Enoch’s formal confirmation as chair awaits cabinet endorsement, his early actions will be closely watched, particularly in relation to the Sabsabi review and the future of the Australian Pavilion at Venice.
Strengthening Governance and Transparency
Independent Review to Deliver Recommendations
The independent review will examine board procedures from the initial commissioning of Sabsabi and Dagostino to the February vote to withdraw their commission. Terms of reference include evaluating whether Creative Australia adhered to its own guidelines, whether risks were properly assessed, and whether relevant stakeholders—including Indigenous advisory groups and external arts experts—were consulted. The review panel will also consider how Creative Australia communicates its decision-making processes to the public and artists.
Tony Burke has pledged to make the review’s findings public and act promptly on its recommendations. “If the review finds shortcomings in our governance, then we will address them without delay,” he said. “We cannot afford to have any ambiguity about Creative Australia’s commitment to artistic freedom, diversity of perspectives, and robust, transparent processes.” The minister also emphasized that the government remains steadfast in its support for the Venice Biennale commission, urging Creative Australia to work in good faith with Sabsabi and Dagostino to find a path forward.
Khaled Sabsabi and Michael Dagostino’s Response
Artists Stand Ready to Reengage
Josh Milani, a representative for Khaled Sabsabi, described Morgan’s impending retirement as a “welcome opportunity to open a pathway towards reinstatement.” Milani emphasized that Sabsabi and Dagostino stand ready to fulfill their contract under new leadership. “Reinstatement is the best path forward to rebuild Creative Australia’s relationship with the sector and to help Khaled recover from the ongoing damage to his reputation, health, and livelihood,” Milani said. Sabsabi, who first gained prominence for his large-scale installations exploring diasporic identity, had been preparing a major body of work for the Australian Pavilion at Venice—a project many viewed as Australia’s most ambitious representation in the prestigious art exhibition.
Fellow artists and institutions have rallied behind Sabsabi and Dagostino in recent weeks, with several state galleries and universities expressing support for reinstating the commission. Monash University reversed its earlier decision to block a Sabsabi exhibition, citing academic freedom and the importance of open discourse. International curators have also offered to collaborate on alternative venues should the Venice commission remain in limbo.
Sector Reaction and Path to Reconciliation
Writers, Academics and Creatives Call for Swift Action
The arts sector’s disquiet over the Sabsabi affair was reflected in an open letter signed by more than 600 of Australia’s most recognised writers, publishers and academics, including novelists Liane Moriarty, Peter Carey and distinguished scholars such as Germaine Greer. The letter accused the board of “compromising Creative Australia’s integrity” and urged the government to ensure artists are not punished for political expression.
The board’s decision, they argued, set a dangerous precedent of self-censorship motivated by fear of controversy rather than a genuine assessment of artistic merit. With Morgan’s departure and Enoch’s arrival, many hope the organisation can redirect its focus toward supporting challenging, provocative work rather than avoiding it. “Creative Australia must recommit itself to its founding principles—fostering excellence, innovation, and freedom of expression,” the letter stated.
Next Steps for Creative Australia
Implementing Review Recommendations and Restoring Confidence
In the coming weeks, Creative Australia will strengthen its governance protocols, enhance stakeholder engagement practices, and ensure that major commissions undergo thorough risk assessments that prioritize artistic integrity over reputational management. The board under Wesley Enoch is expected to fast-track dialogue with Sabsabi and Dagostino, aiming to secure their reinstatement for Venice 2026. Meanwhile, the independent review’s findings will guide future reforms, from clarifying conflict-of-interest policies to improving transparency in grant processes.
Arts Minister Burke has indicated that additional resources may be allocated to Creative Australia to support these changes and to reaffirm the government’s commitment to a vibrant, free-spirited arts sector. “Our cultural institutions must reflect the diversity and dynamism of Australia,” Burke said. “That means standing by our artists, even when their work sparks debate or discomfort. Under Wesley Enoch’s leadership, I am confident Creative Australia will emerge stronger, more inclusive, and more steadfast in its support of daring artistic vision.”
A New Chapter for Australian Arts
Opportunity for Renewal and Reaffirmation of Values
Robert Morgan’s retirement marks both an end and a beginning. It closes a chapter defined by structural reform, but also by a high-profile misstep. The incoming leadership under Wesley Enoch presents an opportunity to reaffirm the values of artistic freedom, robust public discourse, and cultural diversity that underpin Creative Australia’s mission.
For Khaled Sabsabi and Michael Dagostino, the path forward hinges on Creative Australia’s willingness to acknowledge past misjudgments and to champion an artist’s right to represent Australia on the world stage. The Venice Biennale commission—long seen as the pinnacle of international art recognition—carries immense symbolic weight. Its reinstatement would signal to the nation’s arts community that Creative Australia remains a fearless patron of creativity, unafraid of controversy and committed to upholding the integrity of artistic practice.
As the independent review proceeds and leadership transitions, the eyes of Australia’s creative sector and international arts community remain fixed on Creative Australia. The coming months will test the organisation’s resolve to learn from past mistakes, to rebuild trust with artists, and to champion the vital role of art in challenging, enriching and reflecting the nation.
