– Highlights


Pipilotti Rist: Sip my Ocean

01 Nov - 18 Feb


Jon Campbell: MCA Collection

04 Dec - 25 Feb


Word: MCA Collection

04 Dec - 18 Feb

– Learning Events


Contemporary Kids School Holiday Program

23 Jan, 10.30am, Level 3: National Centre for Creative Learning


Pipilotti Rist: Sip my Ocean [Unplugged]

23 Jan, 6.00pm, Level 3: Galleries


Spoken Word Series

03 Feb, 1.00am, Throughout the MCA

– News from inside the MCA

The Importance of Laughter

We sat down with laughter connoisseur Shari Coventry from Sydney Laughter to discover the truth about laughter and why we need it ahead of this month’s Laughter Sessions. more

Coming up in 2018…

Next year is one of the most exciting and diverse seasons yet. Find out what’s on. more

Six Films that Changed My Life (for better or worse): Antenna's Rich Welch

To pave the way for the soon-to-come cinema binge at Antenna Film Festival,Co-Director Rich Welch shared a few of his life changing films. more

– Spotlights from the collection online

MCA Collection

Works from the MCA Collection

Collection Artist Interviews

Watch our latest interviews in the MCA Video Portal

Joint acquisitions by MCA and Tate

The Program promotes Australian art globally, helping Australian artists reach new audiences.

Tyerabarrbowaryaou (I shall never become a white man)

Museum of Contemporary Art Australia (MCA)


19 Feb 1992 to 17 Apr 1992


Ian Abdulla, Gordon Bennett, Robert Campbell Jnr., Fiona Foley, Sally Morgan, Paddy Wainburranga


Djon Mundine

About the exhibition

This exhibition was the first of contemporary Aboriginal art at the MCA. It took as its title a statement attributed to Pemulwuy, the Aboriginal resistance fighter in what is now the area called Sydney. These words signified a contemporary act of resistance by Aboriginal and Torres Strait Islander artists in continuing their artistic practice in the face of historical and ongoing oppression.

The title was used again in a ‘sequel’ to this exhibition, Tyerabarrbowaryaou II, which was curated by Fiona Foley and Djon Mundine for the 5th Havana Biennial.

The exhibition sought to redress the dismissive attitude of European and white Australian galleries and collectors towards Aboriginal art. It provided an opportunity to engage with and inform the wider public about the inherent social and cultural importance of these works. Each of the artists represented in this exhibition was concerned with the history of the white invasion of Australia, its personal, political and historical impacts.

Tyerabarrbowaryaou aimed to present a new voice of Aboriginal culture, one which embraced new media and ancient tradition, to give voice to a wounded history and speak with pride of an enduring relationship with land and culture.