The Diriyah Contemporary Art Biennale, currently running through May 2 in Saudi Arabia, features a diverse group of prominent Arab artists whose works explore themes of identity, memory, environment, and cultural transformation.

Among the exhibited contributions is a ceramic mural by the late Lebanese American artist and writer Etel Adnan. Known for her vivid use of color and geometric abstraction, Adnan’s mural is based on a 2020 sketch completed shortly before her death at age 96. The piece illustrates her longstanding interest in the relationship between painting and architecture, a central element of her artistic practice. The work reflects her belief that architecture encompasses fundamental aspects of form, color, and social issues.

Gaza-born, Paris-based multidisciplinary artist Taysir Batniji presents an iteration from his “Remnants” series, which he began in 2024. Inspired by the delayed transmission of news through social media about his homeland, his oil paintings depict blurry, abstract forms that capture the lag between witnessing a traumatic event and receiving its visual representation. The blurred imagery serves both as a protective buffer from harsh realities and a persistent reminder of ongoing conflict.

From the United Arab Emirates, Abdullah Al-Saadi contributes “The Slipper’s Journey,” a collection of stones and rocks collected from the rugged terrain of Khor Fakkan, Sharjah—his hometown. The rocks are inscribed with symbols, marks, and acrylic paint, forming a personal diary tracing his movement and observations within the landscape. This work exemplifies Al-Saadi’s engagement with time, place, and travel, cementing his reputation as a pioneer of avant-garde art in the Emirates.

Emirati artist Afra Al-Dhaheri offers an installation titled “Dining East or West?” which examines the interplay of spatial intimacy and cultural hybridity in the context of rapid societal change in the UAE. The installation incorporates a plexiglass dining table supported by cinder blocks, with glass and cement casts of feet on the floor. These elements evoke evolving traditions related to communal dining practices, blending contemporary construction materials with personal and cultural histories.

Moroccan-Tunisian artist Amina Saoudi Ait Khay displays five wool tapestries drawing on Amazigh weaving traditions passed down through generations. Her rhythmic patterns evoke both the geometric symbols of Amazigh culture and the shifting forms of desert landscapes. Saoudi Ait Khay describes her color choices as intuitive, suggesting that the designs are shaped by natural forces, as if “the wind is tracing new shapes in sand.”

Together, these exhibits underscore the Biennale’s focus on the convergence of heritage, landscape, and modernity within contemporary Arab art. The event highlights the region’s artistic innovation while addressing complex histories and ongoing social dynamics.