For some skeptics the word biennial has come to signify nothing more than an overblown
symptom of spectacular event culture, the result of some of the most specious
transformations of the world in the age of late capitalism. For others, the biennial is a critical site of
experimentation in exhibition-making, offering artists, curators, and spectators a
vital alternative to museums and other similar institutions whose institutional inertias
do not allow them to respond with immediacy and flexibility to contemporary
art’s developments. Some even see the biennial form as being full of redemptive
and even utopian possibility, or as a testament to a paradigm shift:

Excerpt from "Biennialogy"
Consortia Systems

By Elena Filipovic, Marieke van Hal and Solveig Øvstebø