Venice Art Biennale

An Extraordinary Art Journey Through Venice

The Venice Art Biennale brings contemporary art into dialogue with a historic city. Its curated exhibition, national pavilions and collateral events connect Giardini, Arsenale and locations beyond.

Painting, sculpture, installation and moving images reward time and curiosity. Treat the exhibition as a multi-day art journey, with room for discoveries rather than a race to see everything.

Give the art time; let Venice connect the encounters.— THE TRAVEL LANTERN

Biennale Guide

Understand the exhibition’s different parts, plan manageable days and distinguish the current edition from the archive.

1Biennale Overview

The Art Biennale is not one exhibition in one building. Its curated project, national participations and official collateral events form a wider encounter with contemporary art, while independent shows run alongside them.

How the Biennale works

La Biennale di Venezia’s International Art Exhibition combines several related but distinct structures. A central curated exhibition provides one artistic framework, national participations present their own projects and official collateral events extend the programme into other spaces. Independent exhibitions may coincide with the season without belonging to the official programme.

For visitors, this distinction matters more than memorising every institutional term. It explains why a national pavilion can have its own curator, why an exhibition in a palazzo may require separate planning and why not everything advertised with the word Biennale is included in the main admission ticket.

An exhibition with a long history

The first Venice international art exhibition opened in 1895. Over time, the national-pavilion system, the expansion into the Arsenale and the increasing variety of media changed how visitors encountered the event. Its long history does not mean the format or participating countries remain fixed from one edition to the next.

Treat the permanent architecture and the temporary exhibition as separate layers. A pavilion building can persist while its artist, curator, title and access conditions change. An archival photograph is useful for understanding space, but not for identifying what will be on display during a future visit.

The current edition: In Minor Keys

The 61st International Art Exhibition in 2026 is titled In Minor Keys and is by Koyo Kouoh. After her death in May 2025, La Biennale continued the project she had developed, with her selected team and the support described in its official account. The attribution should remain hers rather than assigning the exhibition to an invented replacement curator.

The dates are 9 May to 22 November 2026. This guide identifies that edition clearly while keeping broader planning advice reusable. It does not assume that the next Art Biennale has announced the same theme, participating countries, artists or venue arrangements.

Giardini: pavilions and a curated centre

The Giardini brings pavilion architecture, landscaped grounds and exhibition interiors together. A visit can alternate between a national presentation, an outdoor pause and the central curated spaces. That variety is part of its appeal, but it can also make it easy to spend most of the day in the first few buildings.

Choose a modest set of priorities and leave space for unfamiliar pavilions. National representation does not mean each presentation offers a complete account of a country’s art. It is a particular curatorial project, shaped by the people and institutions responsible for that edition.

Arsenale: a different spatial rhythm

The Arsenale’s former industrial and maritime spaces create a different encounter with art. Long interiors, changes of scale and the relationship with outdoor areas can make the visit feel more sequential than moving between separate garden pavilions. The architecture can be compelling, but the artworks are not merely decoration for an impressive building.

Allow time for slower media and rest. A large installation may be immediately legible as a visual scene, while a sound work or moving-image piece asks for duration. Decide consciously when to stay and when to move on rather than letting the size of the route set an exhausting pace.

Contemporary art in many forms

Painting and sculpture sit alongside installation, video, sound, digital work and performance. The way you look may need to change between rooms. A work that unfolds over time cannot always be understood from a quick photograph, and an interactive appearance does not mean you are invited to touch it.

Read the label or instructions when the mode of engagement is unclear. You do not need to like every work or accept every interpretation, but giving an unfamiliar piece a little time often produces a more useful response than deciding from the doorway alone.

Themes without a single answer

Contemporary exhibitions can address social, political, personal and historical questions, but not every artwork makes the same argument. The central title is a curatorial invitation rather than a rule that reduces each piece to one slogan. National pavilions may pursue different concerns within the wider season.

Use the official descriptions to understand what is being proposed, then distinguish the curator’s framing from your own response. Avoid presenting a country’s pavilion as the unanimous voice of its population or treating all artists from one region as if they share a single experience.

The citywide layer

Official collateral events and other exhibitions can occupy palazzi, warehouses, galleries and sometimes buildings with religious histories or active uses. The encounter between art and Venice can be particularly memorable when the setting changes how a work is experienced.

Check the exact address, organiser, hours and admission conditions. A citywide exhibition may be far from the main venues and may not follow their closing days. Respect the building as a place with its own history and rules, rather than treating every church or courtyard as an exhibition prop.

Why it matters internationally

The Biennale brings artists, curators, institutions and audiences into a concentrated international setting. It can introduce visitors to practices they would not encounter through a single national museum or familiar commercial gallery. That breadth is one reason it is influential, but it also means no individual visit can represent the whole event.

Do not let the scale create pressure to complete everything. A carefully chosen group of encounters can be more meaningful than a long list of rooms entered briefly. The best measure of a day is what you noticed, questioned and remembered.

What visitors actually experience

Expect a mixture of discovery, uncertainty, excitement and fatigue. Some works will feel immediate; others may remain unresolved. There will be queues, changes of light, walking between buildings and moments when a bench or lunch matters more than another room.

Plan two days for the main venues where possible and add a small number of citywide shows that genuinely interest you. The Art Biennale is best approached as a journey through ideas and spaces, with Venice connecting the encounters. It does not require either specialist certainty or a race to see every pavilion.

2When & Where

The 2026 Art Biennale runs from 9 May to 22 November. Giardini and Arsenale are the main anchors, but individual pavilion arrangements and citywide exhibitions require their own checks.

When the Art Biennale happens

Art editions are normally biennial, but opening months can vary; April is not a permanent rule. The current 2026 exhibition runs from 9 May to 22 November. Architecture, cinema and the other Biennale departments have their own programmes and should not be mistaken for the next Art edition.

As this guide is reviewed in November 2026, use the current autumn visitor information rather than summer hours or an earlier edition’s calendar. Future Art exhibition dates and themes should be confirmed separately when officially announced.

Hours and closed days

For the autumn period from 29 September to 22 November 2026, the main venues list 10:00–18:00 opening, with last admission at 17:45. They are normally closed on Mondays, with 16 November listed as an exception during the remaining season. Individual pavilions may keep different schedules.

Last admission is not a suggested arrival time for seeing a venue. Arriving near it leaves very little time, and visitors cannot simply remain after closing. Plan the day around the amount of art you want to spend time with rather than the last moment the entrance will accept you.

Giardini

The Giardini is a major cluster in eastern Venice, combining national pavilions with curated exhibition spaces and outdoor grounds. The official visitor information identifies entrances from the Viale Trento side and Sant’Elena. Check which approach suits your transport and access needs.

A pavilion queue can change your plan, and a performance may have a separate timetable. Do not assume the main venue’s opening hours guarantee that every presentation or performance is available at every moment. Read the day’s notices before committing to a long wait.

Arsenale

The Arsenale is another principal anchor in Castello, with entrances identified by the organiser at Campo della Tana and Ponte dei Pensieri. The industrial spaces and outdoor sections create a large route that deserves its own time. A quick walk through one hall is not the same as seeing the whole venue.

Choose the entrance and route from the current visitor map rather than assuming any historic Arsenale gate leads to the exhibition. Parts of the wider complex have different uses and access rules. Follow signs and staff instructions instead of exploring an apparently open service route.

National pavilions

Some national participations are in the Giardini, others within the Arsenale or elsewhere in Venice. A country is not guaranteed to participate in every edition, and a familiar building does not establish the current project or opening conditions. Use the official participation list and each pavilion’s current notice.

For 2026, the organiser publishes special arrangements for several pavilions, including days when a presentation or performance is unavailable. This is a useful reminder to verify individual priorities rather than relying only on the general exhibition calendar.

Collateral and independent exhibitions

Official collateral events form a recognised part of the Art Biennale programme. Independent shows may be excellent but have a separate relationship to the season. Identify which is which before describing an exhibition as an official pavilion or collateral event.

Map citywide shows by neighbourhood and check their own hours, booking requirements and admission. A venue in Dorsoduro or Cannaregio can be a worthwhile addition, but not necessarily a convenient stop between two appointments in Castello. Group nearby visits rather than repeatedly crossing the city.

Tickets and access

The 2026 one-access ticket is valid for one entrance to Giardini and one to Arsenale, including on different non-consecutive days. Multiple-access products have different personal-use and validity conditions. Read the current ticket terms before deciding whether you need a return visit.

Do not assume you can leave and re-enter a venue freely on a one-access ticket. Keep any ID required for a concession or personal pass available, and use official purchase and reservation channels. Citywide exhibitions may have separate arrangements even when their admission is free.

Vaporetto and walking

The organiser’s current guidance lists ACTV routes serving the Arsenale and Giardini Biennale stops from the station/Piazzale Roma side, including line 1 and other routes depending on the destination. Consult the current operator timetable because service and stop arrangements can change.

Walking between the main clusters can be enjoyable, but bridges, crowds and navigation add effort. A short distance on the map is not a guaranteed fast transfer. Leave a comfortable buffer and avoid booking an inflexible visit immediately after an uncertain pavilion queue.

Best days and arrival

Weekdays can offer a calmer visit than weekends, although popular pavilions may still attract queues. Opening periods, special events and the final weeks can change demand. Arrive near opening for your chosen principal venue and identify the presentations you most want to see.

Weather affects the spaces between buildings as well as the journey across Venice. Summer heat, autumn rain and shorter daylight call for different pacing. Check current municipal notices if high water or other local conditions could affect your route; do not treat disruption as inevitable on every autumn day.

A realistic day

Choose Giardini or Arsenale as the main focus, with lunch, water and rest built in. If you have only one day, select a limited set of pavilions and a focused section of the other venue, accepting that this is a sample rather than a complete visit.

For two days, give each main cluster its own day and add a nearby public citywide exhibition only if its hours and your energy allow. Avoid ending the afternoon with a compulsory cross-city sprint. The art benefits from attention, and your ticket may already make a less rushed split possible.

Morning

Choose Giardini or Arsenale as the principal focus; arrive at opening.

Midday

Pause for food, water and a review of what you still want to see.

Afternoon

Continue the same venue or make one carefully planned transfer.

Evening

Add a nearby public collateral show only if its hours and your energy allow.

3Event Advice

Plan fewer exhibitions than you think you can manage. Comfortable walking, ticket validity, individual opening hours and respect for artworks will make more difference than a long list of must-see names.

Buy the ticket that fits your pace

Use the official ticket information and read the access conditions carefully. A product allowing one entrance to each main venue is different from a personal multiple-access pass. The right choice depends on whether you want to split the venues, return to works or visit over consecutive days.

Do not assume every concession can be purchased in the same way or used without proof. Keep required identification and your ticket available offline. Check the official channel for reservations and assistance rather than relying on a third-party summary that may omit conditions.

Do not try to complete everything

Giardini, Arsenale and citywide exhibitions can fill far more time than a short trip allows. Decide what interests you and choose a few anchors. Leave some spaces unplanned so a queue, an unexpected work or a useful rest does not make the whole day feel behind schedule.

A rushed half-day covering both main venues is a sample, not a comprehensive experience. There is nothing wrong with a sample if that is all the time you have. The mistake is expecting the same attention and understanding as a slower two-day visit.

Walking and footwear

Wear shoes suited to long periods on your feet, changing surfaces and Venice’s bridges. You may spend considerable time standing inside installations as well as walking between them. A route that looks compact can still be physically demanding after several hours.

Carry a small bag and avoid bringing everything you might possibly need. Large luggage is inconvenient and may not meet venue rules. Plan where you can sit and rest instead of assuming that every gallery has a convenient bench just when you need it.

Food, water and breaks

Build meals into the day before concentration begins to fade. Main venues provide visitor services, but queues and location can affect when they fit your route. A short break outdoors can help you return to the art with more attention than another hour of uninterrupted room-hopping.

Carry water where permitted and respect food and drink restrictions around artworks. Keep snacks and drinks out of exhibition spaces unless explicitly allowed. The aim is to stay comfortable without creating a risk to works or extra work for staff.

Weather and the city journey

Prepare for the actual season: heat and sun can make the paths between pavilions tiring, while autumn rain changes the appeal of long walks and outdoor queues. A light layer and compact weather protection are usually more manageable than bulky equipment.

Check current transport and municipal notices if conditions could affect your route. High water is a dynamic local issue, not a permanent description of every Venice visit. Use official information rather than assuming a photograph of a flooded square predicts your day.

Queues and special performances

Some pavilions have limited capacity or timed elements. A general exhibition ticket may not remove a queue or guarantee a particular performance. Check current notices and decide in advance how long you are willing to wait for a priority presentation.

Do not block a doorway while discussing the decision. If a queue is too long, move to an alternative and return only if your ticket and the opening arrangements allow it. Treat estimated waiting times as estimates, not promises that justify a tight onward appointment.

Accessibility and individual needs

Use the organiser’s current accessibility maps and ask about the specific entrances, routes, seating and assistance you need. Historic buildings and city bridges can create barriers outside the main exhibition areas as well as inside them. A vaporetto journey may simplify one section while leaving another difficult.

The Biennale lists assistance services and equipment subject to availability. Confirm important arrangements rather than assuming they will be waiting without notice. For a citywide venue, check separately: the access available at Giardini or Arsenale does not establish the accessibility of a palazzo elsewhere.

Children and different attention spans

Choose a realistic visit length and a few works that suit the group. Children may respond strongly to scale, colour or sound, but an installation that looks playful is not necessarily designed for touching or climbing. Read instructions and keep supervision close without blocking other visitors.

Leave space for breaks and an early finish if needed. A family-friendly guided activity, where currently offered, can be more useful than expecting everyone to follow an adult’s full pavilion list. A shorter visit with good attention is better than an exhausting effort to see everything.

Artwork care and photography

Do not touch, lean on or enter a work unless the instructions explicitly invite it. Cables, edges and apparently empty floor areas can be part of an installation. Follow staff directions and avoid placing bags where they could strike a surface or obstruct movement.

Photography conditions vary by work and venue. No-photography signs and restrictions apply to phones too. Permission for a personal image is not automatically permission for publication, commercial use or filming; the Biennale’s press guidance requires advance contact for journalistic or publication photography.

Common mistakes

Avoid spending the entire morning at the first few pavilions, skipping lunch and then rushing through the Arsenale with no concentration left. Do not assume all national presentations are in the Giardini or every citywide show is an official collateral event. Check closures and routes before travelling across Venice.

Other mistakes are touching installations, photographing against instructions and planning so many exhibitions that none receives time. Keep a short list, use notes to remember artists and accept that your visit will be selective. The best art day is one in which curiosity remains alive at the end.

4How to Experience

Treat the Biennale as a multi-day art journey through Venice. Mix major venues with a few carefully chosen citywide encounters, and let time with artworks take priority over completion.

Start with your interests

Decide whether you are drawn to painting, moving image, sound, installation, particular artists or the relationship between art and architecture. You do not need a fixed taste, but a few interests help turn a very large programme into a manageable visit.

Read the current exhibition’s introduction and choose a small number of priorities. Do not let publicity alone determine the route. An unfamiliar pavilion can be as rewarding as a widely photographed installation, especially when you arrive without expecting one specific image.

The essential one-day experience

If you have one full day, choose one principal venue and accept a selective visit. Giardini can suit those interested in pavilion variety and architecture; Arsenale offers a different, more extended spatial progression. Neither is simply a compulsory first half before the real exhibition begins elsewhere.

If sampling both, reduce the list deliberately and allow time for transfer, meals and queues. Do not claim to have seen the entire Biennale because you entered both gates. A focused day can be excellent when its limits are clear.

A two-day main-venue plan

Give Giardini and Arsenale separate days where possible. This allows each to develop its own rhythm and reduces the pressure to abandon a work just because the next entrance is closing. Check that your ticket’s validity supports the plan.

Begin each day with a few priorities, then leave room for discovery. Use lunch and rest as part of the schedule rather than as rewards to be postponed until the list is complete. A second day is valuable because you bring a fresh attention span, not merely more hours.

National pavilions and the curated exhibition

Alternate a few national presentations with the central curated project so that you experience their different structures. A pavilion may be a concentrated encounter with one project, while the central exhibition places many practices in a larger conversation.

Do not expect either to be a neutral survey of all contemporary art. Curatorial choices are part of what you are seeing. Notice how the setting, text and sequence shape your response, and distinguish the artist’s work from the institutional frame around it.

Spend time with a work

Choose a handful of pieces to engage with beyond the first visual impression. Read the label, watch a meaningful section of a video or listen long enough to notice how a sound work changes. You do not need to perform expertise; sustained attention is already a useful response.

If a work remains unclear, make a note of the question rather than forcing an instant judgement. Conversely, you are allowed to move on when a piece does not connect with you. Thoughtful selection is different from rushing past everything.

Citywide discoveries

Add one or two official collateral or independent exhibitions that genuinely interest you, checking their identity and hours. Group them with a neighbourhood you already plan to explore. Castello, Dorsoduro and Cannaregio can provide different settings, but repeated cross-city transfers consume energy.

An attractive doorway or palace is not proof of public admission. Follow the actual exhibition entrance and respect private, residential or religious spaces around it. The city’s history enriches the art encounter without making every building a visitor attraction.

The best art-lover experience

Over three days, combine the main venues with a smaller set of citywide shows and enough time to revisit ideas through reading or conversation. Compare how different spaces affect your response rather than treating every stop as another box to tick.

A guided tour or public talk can be useful where available, especially if it adds context you would otherwise miss. Check language, booking and whether admission is included. Do not assume a preview or private opening is accessible because images of it appear online.

The-Neighbours-installation — Atanasof · CC BY-SA 4.0 · Source

Evenings and neighbourhood life

A nearby public evening exhibition can be a good addition when its hours are confirmed, but do not build the day around an imagined late opening. Many spaces close earlier or have their own weekly schedule. A relaxed meal and a walk can be a more satisfying end than a forced final show.

Respect residents and everyday city life. Keep noise and obstruction low, dispose of waste responsibly and do not use a quiet courtyard as an unofficial gathering place. Venice is the setting of the visit and a lived city at the same time.

Remember what you saw

Use a notebook or notes app for artist names, titles and short reactions. A quick photograph of a label, where permitted, can help, but do not let documentation replace looking. Keep the edition and venue attached to the note so works do not blur together later.

After a break, choose one encounter to revisit mentally or through authorised material. The point is not to create a complete archive on your phone. A few specific memories and questions are more useful than hundreds of images with no context.

Leave room for unfinished ideas

The Biennale’s scale means every visit leaves things unseen. Accepting that can make you more attentive to what is in front of you. The best experience is not the one with the largest count of pavilions, but the one that preserves curiosity and gives the work enough time.

Plan the essential practical details, then allow the exhibition to surprise you. Mix major venues, different media and selected citywide encounters. Contemporary art and historic Venice create a rich journey when the route supports attention rather than turning it into a race.

5Photo Guide

Photograph only where permitted and keep artist, venue and edition context attached to the image. A personal visitor photograph and an image intended for publication can have different permission requirements.

Best subjects

Pavilion architecture, exhibition interiors, large installations, sculpture and the relationship between visitors and space can all make useful photographs. The Giardini landscape and Arsenale’s industrial structure offer context that a close artwork detail cannot provide on its own.

Choose a small visual story rather than making every image a reproduction of a work. Include the route, the room and the setting where appropriate, while keeping privacy and venue rules in mind. A visitor in the frame can show scale, but should not become an unwilling prop.

Best light

Natural light changes across courtyards and pavilion interiors, while installations may create their own light. Exposing for a bright artwork can leave the surrounding room dark; brightening everything may destroy the intended atmosphere. Preserve what matters in the scene rather than forcing one uniform exposure.

Do not add flash to solve difficult light unless it is explicitly permitted and appropriate. Light can be part of the artwork, and extra illumination may disturb the experience or create a conservation issue. Accept the limits of available light.

Best positions

Photograph from a place open to visitors and leave doors, narrow passages and viewing positions usable by others. A central architectural composition may be attractive, but waiting there for a long sequence can obstruct everyone entering the room. Take the frame and move on.

Do not cross floor markings, step onto platforms or move objects to improve the picture. A gap in a barrier is not permission. If the space is busy, choose a different angle or return later only if your ticket permits it.

Installation photography

Read the work’s instructions before entering or photographing it. An installation may invite movement through the space while prohibiting touch, or it may include a timed experience that should not be interrupted. The apparent interactivity of a room does not establish permission to handle anything.

A wide image can show how parts relate, while a detail can record material or texture. Keep captions precise about the artist and title when verified. Avoid using a cropped fragment in a way that changes the meaning or suggests it is your own artwork.

Pavilions and architecture

Look for the relationship between the temporary project and the permanent building. A façade, entrance or transition between rooms can explain something about the visitor experience. Keep verticals balanced where useful and avoid exaggerated perspective that makes the architecture misleading.

Historic buildings may retain religious, civic or private functions around the exhibition. Respect thresholds and any separate photography rules. Do not assume every palace interior or church nearby is available because it appears in a Biennale guide.

Reflections, screens and low light

Glass, polished surfaces and screens can introduce glare or reflections. Change your position within the permitted area rather than touching a case or leaning over a work. A stable stance can help in low light, but do not place a camera on an artwork or protected surface.

Moving images and light-based works may not reproduce faithfully in a still. Banding, exposure and colour can alter the result. A descriptive note may be more accurate than an image that seems to show a different work. Avoid pretending a single frame captures an entire time-based piece.

Venice and the art journey

Use canals, paths and neighbourhood views to connect exhibitions, not to replace the art with a generic city gallery. A sign, a public entrance or a view towards an exhibition building can establish context without claiming a particular work is present.

Keep the edition and location clear. A 2024 pavilion photograph belongs to that archive and should not be presented as the 2026 installation. A show running at the same time is not automatically an official collateral event; identify its status from reliable information.

Phone photography

Clean the lens and use a steady main-camera view before resorting to digital zoom. Tap to control exposure around bright screens or windows, and avoid night modes that blur moving visitors or changing projections. Keep sound, flash and distracting screen brightness under control.

A phone is subject to the same no-photography and no-recording instructions as a camera. Do not hold it in front of other visitors for an entire video work. Take a few considered images, then put it away so you can experience the space directly.

Attribution and publication

Keep the artist, work title, venue and date where they are verified, and retain the photographer’s required credit and licence when using an existing image. A photographer’s permission does not automatically settle every right in a contemporary artwork visible in the frame.

For photography intended for journalism or publication inside Biennale venues, the organiser’s accreditation guidance asks for advance contact with the press office. Do not assume a general visitor ticket grants editorial or commercial permission. Seek the relevant authorisation before planning a professional shoot or public reproduction.

What not to do

Do not use prohibited flash, touch installations, block doorways or remove artist attribution. Do not photograph in a restricted area, interrupt a performance or treat an active sacred space as a studio. Never alter the scene by moving a work or asking others to handle it.

Do not present archival images as current or imply that The Travel Lantern owns the artworks shown. The gallery here links to source and licence information and identifies its 2024 context. Truthful captions and respectful behaviour matter more than obtaining every possible photograph.

Practical Information

Check the edition, ticket access and individual pavilion hours, then leave room for walking, queues and rest.

Best Time to Arrive

Arrive near opening and give each main venue a generous share of your time.

How to Get There

Reach Venice, then use current vaporetto or walking routes to Castello.

What to Bring

Ticket, comfortable shoes, small bag, weather protection and a way to take notes.

What to Expect

A vast, varied exhibition with long walking days, queues and surprising encounters.

Photo Gallery

Eighteen archival photographs from the 60th Art Biennale in 2024: exhibition interiors, installations, pavilions, Arsenale and city context. They illustrate the format, not the artworks or participating countries of the 2026 edition.

Exhibition and visitor sources

Reviewed 5 November 2026. The current 61st International Art Exhibition is In Minor Keys by Koyo Kouoh, 9 May–22 November 2026. Confirm individual pavilion changes and ticket conditions before visiting.

Official exhibition · Tickets and information · Prepare your visit · Photography for publication

The Travel Lantern is an independent guide and is not affiliated with La Biennale di Venezia. Photograph credits and source licenses are listed below; artworks remain credited to their respective creators.

Photo credits and licenses

2024 Venice Biennale Arsenale Interior 1 — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

2024 Venice Biennale Arsenale Interior 2 — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

2024 Venice Biennale Arsenale Interior 3 — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

2024 Venice Biennale Arsenale Interior 4 — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

2024 Venice Biennale Arsenale Interior 5 — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

2024 Venice Biennale Arsenale Interior 6 — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

2024 Venice Biennale Arsenale Interior 7 — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

2024 Venice Biennale German Pavilion Interior 1 — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

2024 Venice Biennale Giardini Interior 1 — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

2024 Venice Biennale Japanese Pavilion Interior 2 — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

2024 Venice Biennale Kiosk with Foreigners Everywhere — Jennifer 8. Lee · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.

60th Venice Biennale, Arsenal — Gerda Arendt · CC0. Displayed with responsive cropping; see source for original.

60th Venice Biennale, Bolivian pavilion — Gerda Arendt · CC0. Displayed with responsive cropping; see source for original.

60th Venice Biennale, Finnish pavilion — Gerda Arendt · CC0. Displayed with responsive cropping; see source for original.

60th Venice Biennale, harbour installation — Gerda Arendt · CC0. Displayed with responsive cropping; see source for original.

60th Venice Biennale, harbour view to sea — Gerda Arendt · CC0. Displayed with responsive cropping; see source for original.

60th Venice Biennale, view back to city — Gerda Arendt · CC0. Displayed with responsive cropping; see source for original.

The-Neighbours-installation — Atanasof · CC BY-SA 4.0. Displayed with responsive cropping; see source for original.