– Highlights


Tatsuo Miyajima

03 Nov - 05 Mar

Mca Collection

MCA Collection: Today Tomorrow Yesterday

01 Sep - 31 Dec


Primavera at 25: MCA Collection

19 Dec - 19 Mar

– Learning Events

Pop-Up Bar

Sakura Sundays

05 Mar, 3.00pm, Ground Floor: Outdoor Terrace


Contemporary Art Studio

09 Mar, 10.30am, Level 3: National Centre for Creative Learning


Educators conference: 6-7 April

06 Apr, 6.00pm, Level 3: National Centre for Creative Learning

– News from inside the MCA

Ode to typography: Interview with Will Lynes

Signwriter Will Lynes used traditional signwriting techniques to free-hand paint the text ‘Everything Else’ on this 17-metre long wall painting. Will muses on the emotive quality of typography and how he works. more

5 tips for applying for the MCA Zine Fair

Want to show your zine-work at the 2017 MCA Zine Fair? Here we share our tips for applying more

Louise Zhang's horror infused ARTBAR

Navigating the space between attractive and repulsive, Chinese-Australian artist Louise Zhang kicks off the ARTBAR year in suitable style with a night entitled ‘New Year’s Rot’. 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.