6 / 48
are made to feel welcome. Rather
than keeping the artworks off
limits, there is a zone where
activities have been designed by
visiting artists to give patrons,
young and old, a hands-on
experience. The strength of this
year's APT3, with its focus on
children, is its democratic message
that art is for making as well as
appreciating.
Cindy Lord,
The Courier Mall,
20 Nov.
1999
Growing in strength each year, the
huge collaborative process behind
this innovative event shows ever
more in the debates and
discussions surrounding the works.
A fine example of how a public
institution can make a difference in
the contemporary art of its region.
Susan McCulloch-Uehlln,
The
Weekend Australian,
20-21
Nov.
1999
While APT can hope only to provide
tantalising glimpses of the
contemporary art worlds of the vast
Asia-Pacific region, in providing a
unique and valuable forum for
cultural dialogue the gallery has
earned for itself a secure place on
the global art map.
Jonothan Mane-Wheokl,
Art
New Zealand,
Summer
1999/2000
Pacific Triennial has achieved a
level of national and international
recognition that had seemed
unimaginable when it first opened
in 1993.
Brooke Turner,
The Art
Newspaper,
Dec. 1999
... the APT has generated a
substantial cross-cultural dialogue
between artists, curators,
academics, and the general public
in the six years since its
inauguration.
Charles Green,
Art Journal,
Vol.
58, No. 4, Winter, 1999
The APT shows a conscientious
approach to its enterprise and a
multicultural expertise, but the
show's real strength is in the
compelling voice and power of
seventy-five individual artists.
The APT was a lively and engaging
exhibition,with conscious efforts
made to bring the works to a wide
audience....The QAG has also
made a decade-long commitment
to collecting contemporary art of
Asia-Pacific and this collection now
numbers more than 300 works. Jf
not the great "Beyond~, it is a
critical investment in the cultural
future.
lhor Holublzky,
International
Contemporary Magazine,
Nov.
1999 - Jan. 2000
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