Brook Andrew

Brook Andrew’s interdisciplinary art practice is driven by the collisions of intertwined narratives, often emerging from the mess of the “Colonial Wuba (hole)”. His practice is grounded in his perspective as a Wiradjuri and Ngunnawal Indigenous person of Australia. Brook’s artworks, museum interventions, research, leadership roles and curatorial projects challenge the limitations imposed by power structures, historical amnesia and complicity to centre and support Indigenous ways of knowing and being through systemic change and yindyamarra (respect, honour, go slow and responsibility).

Brook presents his artwork in Australia and internationally, with research-based museum and public space interventions, and Wiradjuri language being central to his practice. Brook’s museum interventions began in 1996 with Dispersed Treasures at the Royal Albert Memorial Museum, Exeter. The use of Wiradjuri language began shortly after, evident in early works such as Ngajuu Ngaay Nginduugirr (I see you) (1998), an installation combining photographic print and neon text. In 2017, Brook’s artistic career was recognised with a large-scale, immersive solo exhibition – Brook Andrew: The Right to Offend is Sacred at the National Gallery of Victoria, Melbourne.

In his role as Director of Reimagining Museums and Collections at the University of Melbourne (2022 – ongoing), Brook founded BLAK C.O.R.E, a collective driven by First Nations methodologies, research and cultural practices focusing on walumarra (protection), yindyamarra gunhanha (ongoing respect) and murungidyal (healing in the museum). Brook is Adjunct Curator ngurambang-ayinya (First Nations), Guggenheim Abu Dhabi (2023-ongoing), and Artistic Associate of the Powerhouse Museum, Sydney, where he is curating a major exhibition for 2026 on global Indigenous ways of being.