McCarthy Gallery Blog Series: Collecting Pacific Contemporary & Indigenous Art

Ind. curator
Dec 9, 2025
3 min read

The Rise of Pacific Contemporary Art: A Collector's Perspective

Artwork by Dr Richard Cooper 2023, Oil pastels on building paper, 220 x 117 cm, Framed [Melbourne AU, Private Collector] $9,000-10,000 AUD — Artwork by **Dr Richard Cooper** 2023, Oil pastels on building paper, 220 x 117 cm, Framed [Melbourne AU, Private Collector] $9,000-10,000 AUD

Why Now Is the Time to Invest in Pacific and Indigenous Art

The art world is witnessing a profound transformation. Pacific contemporary and Indigenous artists are no longer on the periphery—they're reshaping global conversations about identity, culture, and belonging. For collectors, this moment represents both a cultural opportunity and a strategic investment decision.

International Recognition Reaches New Heights

The 2024 Venice Biennale marked a watershed moment for Pacific and Indigenous artists. The Māori women of the Mataaho Collective and Archie Moore for the Australia Pavilion received top honors, signaling unprecedented international recognition. These aren't isolated achievements—they reflect a broader cultural shift where Indigenous voices are commanding the world's attention.

This recognition builds on decades of institutional validation. The 2006 opening of Brisbane's Gallery of Modern Art (GOMA) featured the 5th Asia Pacific Triennial of Contemporary Art (APT5), which represented the strongest presentation of Pacific artists to date. Works by Michael Parekowhai (New Zealand) and John Pule (Niue/New Zealand) were among approximately 70 percent of exhibited works acquired for the permanent collection—a testament to the curatorial confidence in Pacific contemporary art's enduring significance. APT5 marked a pivotal moment, establishing GOMA as Australia's largest gallery of modern and contemporary art and cementing the Asia Pacific Triennial as the only major exhibition series in the world to focus exclusively on contemporary art of Asia and the Pacific.

At auction houses, the numbers tell a compelling story. Artist Emmi Whitehorse's painting recently sold at Phillips for over nine times its estimate. Aboriginal painter Emily Kam Kngwarray's museum retrospective toured Australia and led to representation by prestigious Pace Gallery. These outcomes reflect growing institutional and collector confidence in the sector.

The Investment Case: Research-Backed Returns

Artwork by Leanne Clayton 2024

House of Nine, Faleiva

Screen print on paper, Upati board

(wooden board) and stencil

53cm x 53cm, Framed

[Brisbane AU, Private Collector] $1,500-2,500 AUD

Beyond cultural significance, academic research validates the investment merit of Pacific and Indigenous art. A comprehensive study analyzing over 4,000 Aboriginal paintings found the market yielded annual returns comparable to traditional asset classes. More importantly, the research revealed negative correlation with other investments, making it valuable for portfolio diversification.

Further analysis of 13,555 works by 187 Australian Aboriginal artists between 1994-2019 confirms that auction sales provide reliable indicators of contemporary market value. For collectors seeking both cultural engagement and financial prudence, these findings offer reassuring validation.

Market Infrastructure Strengthens

Artwork by Kate Valentine 2025

Bright Paradise: Cultures of display

Acrylic on canvas

101 x 101 cm, Framed

[Melbourne AU, Private Collector] $3,000-5,000 AUD

The sector's maturation is evident in evolving market infrastructure. New Zealand launched its Artist Resale Royalty Scheme in December 2024, providing artists with ongoing royalties from secondary market sales. This legislative development strengthens long-term value for both artists and collectors, ensuring sustainable career paths for Indigenous creators.

New Zealand's secondary art market generates approximately $60 million annually, while Aboriginal art contributes $100 million to the Australian economy. With over 1,000 registered First Nations businesses operating within arts and heritage industries in Australia—accounting for roughly 20 percent of all First Nations businesses—the sector demonstrates remarkable economic vitality.

McCarthy Gallery's Role

Since 2006, McCarthy Gallery has championed Pasefika contemporary and Indigenous artists, building relationships across Australia, New Zealand and the Pacific region. Our nearly two decades of experience mean we understand not just market dynamics, but the cultural narratives, artistic lineages, and emerging voices that define this movement.

Whether you're establishing a new collection or expanding an existing one, now represents an exceptional moment to engage with Pacific contemporary and Indigenous art. The combination of growing international recognition, research-validated investment potential, and strengthening market infrastructure creates compelling conditions for thoughtful collectors.

Ready to explore? Visit our stockroom online or register for early access to new arrivals from our stable of artists or book a private viewing.

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