The 2026 Archibald Prize finalists are now on display at the Art Gallery of New South Wales in Sydney, igniting the usual mix of passion, confusion, and debate. The public loves it, critics often hate it, and journalists view it as an inevitable cultural event. This year, Richard Lewer's portrait of artist Iluwanti Ken took home the $100,000 prize, but the exhibition as a whole offers a wild ride through contemporary portraiture.
The Annual Ritual of Archibald Reactions
Every year, arts writers engage in familiar WhatsApp exchanges: predictions, wishes, and snapshots of what they consider abominations, accompanied by cry-laughing emojis. They haggle over whether this is the worst year yet. Observing trends in the Archibald Prize has become a sport—the era of brown suits, the surge of oversized heads, and the recurring motif of elderly white men seated. The 94-year tradition of men painting men continues unabated.
Critic Christopher Allen of The Australian consistently finds new ways to denounce the "lurid" and "distasteful mess" of "deliberately bad" art. However, many find a certain charm in the Archibald's daggy appeal, appreciating the joy and conversation it generates.
Standout Portraits and Gaslighting Moments
This year's exhibition includes Sindy Sinn's Keep on stingin', a portrait of Adam Hyde (known as Keli Holiday). This supersized concoction features haunting eyes that seem to follow viewers, with an aesthetic described as "MS Paint." Alongside it, Liam Nunan's tender portrait of Sheridan Harbridge, titled The cost of flowers, captures the actor hungover and exhausted after a performance. The juxtaposition can be disorienting.
For those seeking further bewilderment, the Salon des Refusés at the SH Ervin Gallery showcases rejected entries. Many paintings there could easily swap places with finalists, reinforcing the sense that the selection process is somewhat arbitrary. This year's Refusés includes Wendy Sharpe's melancholic portrait of Patricia Piccinini, featuring four pendulous breasts and a gaping butthole—a striking anomaly in an otherwise conventional collection.
How the Archibald Prize Is Judged
The prize aims to recognize excellent portraits "preferentially of some man or woman distinguished in art, letters, science or politics," painted within the last year by an Australian resident, based on at least one live sitting. The judging is handled by the Art Gallery of New South Wales' board of trustees, a group mostly composed of business executives but always including two artists—currently Tony Albert and Caroline Rothwell.
Critics argue that the Archibald's issues stem from a mix of woke politics, bad taste, and commercialism. Encouraging minorities and non-traditional painters, along with judges who prioritize ticket sales over artistic merit, allegedly leads to a "freak show" for a visually illiterate audience. John McDonald, former art critic for Nine, sees this as the "decline of the West."
Beyond the Art: Stories and Representation
Former Archibald curator Anne Ryan noted that the judging process focuses not only on great painting but also on who is painted and the stories behind the portraits. The exhibition collectively reflects the year in Australia. This explains why a portrait of "Bondi hero" Ahmed al-Ahmed or the Philippou Brothers might be selected over a technically accomplished painting like Robert Hannaford's portrait of his oncologist, which was rejected this year.
Anomalies persist: Tom Carment's self-portrait made the cut, while Lewis Miller's did not. Two former artist judges revealed that they consider whether a submission is the painter's best work, effectively judging artists against themselves. The judging is an epic task—this year, 59 finalists were chosen from 1,034 entries over a single weekend, alongside 773 Wynne entries.
Embracing Diverse Tastes
While complaints about the Archibald are common, the author wishes media commentary focused more on art than culture wars, with less policing of technique and aesthetics. Everyone has their own taste. Adrian Jangala Robertson's Babadook-adjacent portrait of filmmaker Dylan River and Meagan Pelham's portrait of Jessica Rowe may not please refined palates, but they delight others. One is strange and spooky; the other radiates joy. Both remind us that we all see things differently.
The Archibald Prize finalists are on show at the Art Gallery of NSW until 16 August. The 2026 Salon des Refusés is at the SH Ervin Gallery in Sydney until 26 July.
