For more than a decade, Gow Langsford has been a familiar presence at Sydney Contemporary, bringing the depth and diversity of Aotearoa’s contemporary art scene to audiences across the Tasman. From its long-standing Auckland CBD gallery to its purpose-built flagship in Onehunga, the gallery’s approach is grounded in a strong and evolving roster of artists, and a belief in presenting their work in ways that surprise, engage and invite conversation. As Sydney Contemporary marks its 10th edition, Director Anna Jackson reflects on the gallery’s enduring relationship with the Fair, the changing art landscape across Australasia, and the artists and presentations that have shaped its journey
With your main gallery in the heart of Auckland, opposite the Auckland Art Gallery, Gow Langsford is deeply embedded in Tāmaki Makaurau’s cultural life. How does that position at home shape the way you present the gallery internationally at Sydney Contemporary?
We’ve had a presence in Auckland’s CBD since the early 1990s, but anyone who knows the city knows its cultural life extends well beyond the centre. In 2024 we opened our purpose-built flagship gallery in Onehunga – a suburb better known for industry, trades and local businesses than galleries. It’s been exciting to become part of that community and to see the enthusiasm and support the new space has generated.
While our home base is an important part of who we are, it doesn’t necessarily dictate how we present internationally. What defines Gow Langsford is the strength and diversity of the artists we represent. One of the great strengths of Aotearoa’s art scene is the richness of its perspectives and cultures, and that’s what we aim to bring to Sydney Contemporary each year.
Pictured: Gow Langsford Booth at Sydney Contemporary 2022
You’ve been a consistent presence at Sydney Contemporary across its history. How has your approach to the Fair evolved as both the gallery and the Australasian art market have changed?
We’ve always tried to approach each edition as an opportunity to do something different while remaining recognisably Gow Langsford.
As the fair has grown, it’s naturally developed a stronger Australian focus, which has made our perspective as a New Zealand gallery even more distinctive. Over the past thirteen years we’ve welcomed many new artists into the programme, and the fair has also become an important platform for presenting internationally significant artists alongside our New Zealand roster.
One thing that hasn’t changed is that Sydney is wonderfully unpredictable. While our presentations are always carefully considered, we still joke that after more than a decade we’ve never managed to accurately predict how any particular fair will unfold.
Pictured: Gow Langsford Booth at Sydney Contemporary 2023
Looking back across your participation, are there particular booths or artist moments at Sydney Contemporary that felt like turning points for the gallery?
I’m not sure I’d describe them as turning points, but there have certainly been many personal highlights over the years. Showing Damien Hirst at the inaugural fair in 2013 was certainly one. Some of my favourites include our presentation of Lee Ufan in 2017, Aiko Robinson in 2023, and Dale Frank’s monumental Buffalo last year. Sculpture Contemporary has also consistently been a highlight, with memorable works by Gregor Kregar and Simon Ingram, as well as Lisa Roet’s giant primate in 2024.
Collectively, these moments reflect what we value most about participating in art fairs: the opportunity to create thoughtful presentations that surprise audiences, spark conversation, and showcase artists in fresh and unexpected ways.
Auckland’s art scene has grown and shifted significantly over the past decade. What changes have you felt most directly in terms of collectors, audiences, or visibility for artists?
The art world is always evolving, and after nearly 4 decades the gallery has learned to adapt with it. The pandemic years brought unexpected momentum to the New Zealand market, and that confidence ultimately enabled us to invest in our new purpose-built gallery in Onehunga. We see that investment as a long-term commitment to the vitality of the arts in Aotearoa.
The response has exceeded our expectations. We’ve welcomed new audiences alongside long-standing collectors, and it’s been encouraging to see that community continue to grow. While it’s never an easy environment for artists, we’re optimistic. Aotearoa has an extraordinarily strong creative culture, and we believe there will always be an audience for ambitious, thoughtful contemporary art.
Pictured: Gow Langsford Booth at Sydney Contemporary 2025
As Sydney Contemporary marks its 10th edition, what does this milestone represent from your perspective, both as a long-standing exhibitor and as a gallery operating between Aotearoa and the wider region?
Sydney Contemporary has become an important part of our annual calendar. It gives us the opportunity to maintain meaningful relationships with Australian collectors and institutions without needing a permanent presence there.
Those relationships have been built gradually over more than a decade of exhibiting at the fair. Today, one of the most rewarding aspects is reconnecting with collectors who return each year, while introducing new audiences to the artists we represent. Reaching the tenth edition feels like a celebration not only of the fair itself, but of the long-term relationships and trust that have developed around it.
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Learn more about what Gow Langsford is showing at Sydney Contemporary here.
