Introduction

The Dallas Biennial (DB) represents a bold reimagining of what a contemporary art exhibition can be in the 21st century. Launched in 2012 by artists Jesse Morgan Barnett, C.J. Davis, and Michael Mazurek, this artist-run platform disrupts the traditional biennial model through its experimental structure, decentralized presentations, and commitment to artistic autonomy. Unlike most biennials governed by institutional frameworks, DB emerged from the ground up, reflecting the independent spirit of Dallas's growing contemporary art scene.

DB operates across multiple venues throughout Dallas, utilizing both conventional gallery spaces and unconventional sites to engage diverse audiences. Its nimble, adaptive format allows for varied presentation modes, from physical exhibitions and public interventions to digital platforms and publications. By challenging established biennial models, DB creates a unique context for contemporary art in Texas while connecting local artistic practices to global conversations.

Artist-Run Experimental Multi-Venue Non-Hierarchical Texas Contemporary

Breaking Boundaries: How Dallas Biennial Reinvented the Artist-Run Exhibition Model

In the basement of a repurposed warehouse in Deep Ellum on a sweltering July evening in 2012, three artists huddled around a makeshift table littered with sketches, manifestos, and empty coffee cups. Jesse Morgan Barnett, C.J. Davis, and Michael Mazurek were plotting a quiet revolution in the heart of Texas—one that would challenge the very definition of what a biennial could be. That night, the Dallas Biennial was born, not from institutional mandate or civic boosterism, but from artists determined to create the platform they felt their city deserved.

"We weren't interested in replicating the Venice model or creating another Whitney," recalls Mazurek, looking back at the biennial's genesis. "Dallas already had strong museums and commercial galleries. What it needed was something different—a platform where artists could exercise real agency over how their work was contextualized and presented." This founding principle—that artists should determine exhibition frameworks rather than merely supply content for them—remains the philosophical core of the Dallas Biennial even as it has evolved over the past decade.

The first iteration, DB12, was deliberately modest in scale but ambitious in concept. Occupying just three venues—a gallery, an artist's apartment, and a temporarily vacant storefront—it featured works by twelve artists who each contributed to the curatorial vision. Deliberately operating beneath the radar of major institutions, DB12 caught the attention of local artists precisely because it offered an alternative to traditional exhibiting structures. The guerrilla spirit of that first edition established a pattern of institutional critique that continues to define the biennial's identity.

By DB14, the biennial had expanded considerably, incorporating international artists and securing partnerships with alternative spaces throughout the city. Yet even as its footprint grew, the organizers remained committed to artist-led decision-making and decentralized structure. "We built anti-hierarchical practices into our DNA," explains Davis. "Every decision—from venue selection to marketing materials—is made collectively, with artists having equal voice regardless of their career stage or market position." This democratic approach stands in stark contrast to the top-down curatorial model that dominates most biennials globally.

The breakthrough moment for DB came in 2016 when the organizers embraced digital platforms not as ancillary documentation but as primary exhibition spaces. DB16 featured physical installations alongside virtual galleries, downloadable artworks, and algorithmically generated exhibition catalogs. This hybrid approach allowed DB to transcend the geographical limitations that typically constrain regional biennials, connecting Dallas-based artists with international audiences and collaborators.

Perhaps most significantly, DB has reimagined the economic model of biennial production. Operating without permanent staff or facilities, the biennial maintains minimal overhead costs, allowing the majority of its budget to directly support artists and production. This lean approach has proven remarkably resilient, enabling the biennial to weather economic downturns that have challenged more traditionally structured arts organizations. "We're not beholden to expensive infrastructure or large administrative teams," notes Barnett. "We can adapt quickly to changing circumstances, which proved especially valuable during the pandemic."

Indeed, when COVID-19 forced the cancellation or postponement of major art events worldwide, DB21 pivoted to a distributed model combining outdoor installations, window exhibitions, digital platforms, and radio broadcasts. Rather than simply translating physical exhibitions to online viewing rooms, the organizers worked with artists to develop projects specifically designed for pandemic conditions. The result was one of the most innovative responses to exhibition-making during the global health crisis.

The biennial's influence extends beyond its specific programming. By demonstrating a viable alternative to institutionally driven exhibition models, DB has inspired similar artist-led initiatives across Texas and the broader American Southwest. The "DB model" of collective decision-making, multi-venue presentation, and hybrid physical/digital programming has become a template for emerging biennials in smaller cities seeking to develop distinctive artistic platforms outside traditional art world centers.

Looking toward its seventh edition in 2026, the Dallas Biennial continues to evolve while maintaining its foundational commitment to artist agency. New partnerships with technology companies, educational institutions, and community organizations promise to expand its reach while the inclusion of more international voices strengthens its global connections. Yet even as the scale and ambition grow, the core principle remains unchanged: artists determining the conditions of exhibition rather than merely providing content for predetermined frameworks.

"The most radical thing we did was refuse to accept that biennials had to follow a specific model," reflects Mazurek. "By breaking that boundary, we opened up possibilities not just for ourselves but for how exhibition-making can function in the 21st century." In a global biennial landscape increasingly dominated by institutional sameness, the Dallas Biennial stands as proof that the most innovative platforms often emerge not from the center, but from the creative determination of artists working at the edges.

Sources & Further Reading

Artistic Vision & Themes

The Dallas Biennial embraces a non-hierarchical approach to curation, often exploring themes related to institutional critique, artistic autonomy, and the evolving relationship between local and global art contexts. Each edition develops its conceptual framework through collaborative processes among participating artists and curators, resulting in thematically cohesive yet diverse presentations.

The upcoming DB26 edition, titled "Permeable Boundaries," examines how contemporary art navigates and challenges the physical, social, and conceptual divisions that define urban experience. The exhibition investigates how artists respond to and reshape borders in digital space, public environments, and institutional contexts. This thematic focus reflects the biennial's ongoing interest in boundary-crossing practices and interdisciplinary approaches.

Previous editions have engaged with themes such as digital connectivity, ecological sustainability, urban development, and the social role of art in community building. DB consistently questions conventional exhibition formats, experimenting with durational programming, interactive installations, and cross-disciplinary collaborations that blur boundaries between visual art, performance, music, and technology.

History & Legacy

The Dallas Biennial emerged in 2012 as an ambitious response to Dallas's evolving art landscape. Founded by artists Jesse Morgan Barnett, C.J. Davis, and Michael Mazurek, DB was conceived as an alternative to both commercial gallery systems and institutional exhibitions. The founders sought to create a platform that would highlight Dallas as a significant art center while operating outside traditional power structures.

Over its history, DB has grown from a modest artist-initiated project into a recognized component of Dallas's cultural calendar. While maintaining its independent spirit, the biennial has developed partnerships with local institutions, galleries, and educational organizations, creating a collaborative network that strengthens the city's art ecosystem while preserving the biennial's experimental ethos.

2012

Inaugural Dallas Biennial (DB12) launched as an artist-run initiative with 12 artists across 3 venues

2014

DB14 expanded to include international artists and multiple venues, establishing cross-border dialogues

2016

DB16 pioneered digital platforms and virtual exhibitions, creating a hybrid physical/online model

2018

DB18 focused on collaborative projects and public interventions, activating previously unused urban spaces

2021

DB21 responded to pandemic conditions with innovative distributed exhibition strategies

2024

DB24 emphasized cross-disciplinary practices and deepened community engagement initiatives

2026

DB26 "Permeable Boundaries" to explore how art navigates physical, social, and digital divisions

From the Art World

Contemporary art news and visual culture from leading sources

Exhibition Venues

The Dallas Biennial utilizes a diverse range of spaces throughout the city, from established galleries and museums to alternative venues, public spaces, and digital platforms. This distributed approach reflects DB's commitment to accessibility and its interest in exploring how context shapes the experience of art.

Core venues for DB26 include The MAC (McKinney Avenue Contemporary), the Dallas Contemporary, ex ovo, 500X Gallery, and various university exhibition spaces including those at Southern Methodist University and the University of Texas at Dallas. Additionally, DB activates unconventional spaces such as vacant storefronts in Deep Ellum, industrial buildings in the Design District, outdoor sites throughout the city, and temporary installations in transitional neighborhoods.

In keeping with its innovative approach, DB26 will expand its presentation platforms to include augmented reality experiences at specific city locations, interactive web platforms, podcast programming, and community radio broadcasts. This multimodal approach reflects contemporary artistic practices while increasing the biennial's accessibility beyond physical attendance, allowing for engagement with audiences outside of Dallas.

Video Experience

Experience the dynamic and experimental spirit of the Dallas Biennial through this documentary of recent exhibitions, featuring interviews with artists and organizers who are redefining what a biennial can be.

Video: Dallas Biennial Artist Interviews | Watch on YouTube

Venue Locations

The Dallas Biennial spans multiple venues across the city, with concentrations in the Arts District, Deep Ellum, and the Design District. Use the interactive map to navigate between exhibition spaces.

  • The MAC - 1503 S Ervay St, Dallas
  • Dallas Contemporary - 161 Glass St, Dallas
  • ex ovo - 414 Fabrication St, Dallas
  • 500X Gallery - 500 Exposition Ave, Dallas
  • Nasher Sculpture Center - 2001 Flora St, Dallas
  • SMU Pollock Gallery - 6101 Bishop Blvd, Dallas

Dallas City Guide

Navigate the vibrant Dallas art scene beyond the biennial with our insider's guide to the city's cultural districts, hidden galleries, and creative neighborhoods.

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Design District

Contemporary galleries and design showrooms

Deep Ellum

Street art, music venues, and artist studios

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Arts District

Major museums and performing arts venues

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Bishop Arts

Independent galleries and boutiques

Art Destinations

  • 📍 Nasher Sculpture Center: World-class sculpture collection
  • 📍 The Power Station: Innovative exhibition space in former power plant
  • 📍 Sweet Pass Sculpture Park: Outdoor contemporary sculpture
  • 📍 Site131: Experimental gallery in the Design District

Getting Around

Dallas has limited public transportation, so ride-sharing services are recommended for navigating between biennial venues. The DART rail system connects downtown, with stations near the Arts District. The free D-Link bus circulates through downtown, Deep Ellum, and the Design District during business hours.