“Conversations Are As Valuable as the Artworks Themselves”: Miah Madden on the NIAF

Every year, the National Indigenous Art Fair (NIAF) brings together artists from some of Australia’s most remote Aboriginal and Torres Strait Islander communities. The event is a rare opportunity to meet the makers behind a rich array of contemporary works and to buy directly from community-owned art centres.

Returning to The Cutaway at Barangaroo for its seventh edition from July 3 to 5, this year’s NIAF coincides with Naidoc Week and its 2026 theme, 50 Years of Deadly, celebrating five decades of Aboriginal and Torres Strait Islander culture, leadership and resilience through the NAIDOC Week initiative.

At the heart of the art offering is curator and creative producer Miah Madden. Known to many as an actor (The Sapphires, The Unlisted, Paper Dolls), the multi-talented Madden has spent the past three years curating NIAF’s exhibition program while also studying law – bringing a strong focus on storytelling, advocacy and community-led practice to her curatorial work.

This year, she brings back The Living Room – an exhibition placing works from participating art centres within a domestic setting, inviting visitors to imagine Indigenous art as part of everyday life. We spoke to Madden about the exhibition, the importance of NIAF’s ethical marketplace model, and why conversations with artists are just as valuable as the works themselves.

What does “50 Years of Deadly” mean to you, and how has it shaped your curatorial approach?

“Deadly” is inseparable from Blak excellence – it’s a term we’ve claimed to affirm the strength, continuity and brilliance of our cultures, law and creative practices. That spirit guided my approach this year. Rather than imposing a curatorial theme, I wanted to honour what each art centre chose to bring and focus on works that embody that sense of excellence. The result is an exhibition where the artworks speak for themselves, each piece reflecting the depth, skill and vitality of its maker. It’s a privilege to present such powerful work from artists at every stage of their careers.

The Living Room is now in its third year. How has it evolved?

The Living Room has grown significantly, particularly with our move to The Cutaway at Barangaroo, which has elevated both the installation and the fair more broadly. This year, we’re working with 14 art centres, presenting their works within a living room setting in collaboration with Merrepen Arts. The space features upholstered furniture using textiles from Merrepen, all available for purchase. With increased resources and time, we’ve deepened the concept, offering audiences a more immersive experience of how Indigenous art can live within the home, while still foregrounding the integrity of each art centre’s practice.

Are there recurring ideas shaping this year’s curation?

A key thread is the idea of transcending tradition. Many of the works reflect artists engaging deeply with cultural practices while also extending them, bringing personal histories, innovation and contemporary perspectives into their work. What stands out is how individual these expressions are, while still remaining grounded in community and cultural knowledge. The result is work that feels both deeply rooted and distinctly forward-looking.

What stories felt important to centre this year?

I’m consistently drawn to intergenerational storytelling: works shaped by knowledge passed down through family and community. In Aboriginal cultures, law and knowledge are often transmitted orally, and that continuity is reflected in artistic practice. I’m particularly interested in works that speak to influence, where an artist’s practice is shaped by a parent, grandparent or mentor. These narratives highlight the relational nature of cultural knowledge and the role of community as the foundation of both creative and personal strength.

Has your background in acting and law influenced your curatorial approach?

Absolutely. Acting has sharpened my sensitivity to storytelling, which naturally informs how I approach curation, leading me to look for connections between works and artists across different regions. My legal studies, particularly my interest in advocacy, ground my practice in a strong sense of responsibility to community. Curating, for me, becomes a way to create pathways, connecting artists and art centres with opportunity, and ensuring their work is presented with integrity and care.

Why is NIAF’s ethical marketplace model important?

NIAF is unique in that it does not charge art centres to participate or take commission on sales. The fair actively supports art centres to travel to Sydney, ensuring they can engage directly with the market. This model removes intermediaries and allows artists and art centres to retain the full value of their work. It also creates a meaningful opportunity for audiences to connect directly with artists and community representatives. Supporting art centres has a broader impact – they are often central to the social, cultural and economic wellbeing of their communities.

What would you say to a first-time visitor?

Take the time to speak with the artists and art centre representatives – those conversations are as valuable as the artworks themselves. The fair offers a rare opportunity to engage directly with community knowledge holders. Beyond purchasing work, I hope visitors leave with a sense of connection and cultural understanding. There’s a distinct energy to the space, one that comes from openness, exchange and the presence of so many communities in one place. That experience can be just as lasting as any object.

What are you especially excited for this year?

I’m particularly excited about our collaboration with Merrepen Arts in The Living Room. We’ve upholstered furniture with works by artists including Kieren Karritpul and Aaron McTaggart, creating a space where art and design intersect. Seeing these works activated in a lived environment will be a powerful experience for audiences.

The National Indigenous Art Fair runs from July 3 until July 5. Broadsheet Access members get 20 per cent off tickets.

www.niaf.com.au/

@nationalindigenousartfair