Also read News Chronologies  for ten years: 2014-2019;  2020; 2021-2022; 2023-2024
And PHM being Destroyed not Saved: 2023 Call to action
For Inquiry into Museums and Galleries webpage: Read more
For the Inquiry Committee’s Two Final Reports: Read more  and media release Read more
For informed research, analysis and opinions, see What the Experts Say: Read more
To read about Museum history and issues with an early Heritage nomination, Read here.
‘Letters to Editors’: for related letters to the editors of newspapers, see the PMA web site, here: Read more

The News Chronologies include reports in newspapers, journals, newsletters, radio and TV,  that draw on announcements, meetings, submissions and proposals of state government, city council and museum management issues about the future of the ‘saved’ Powerhouse Museumhttps://substack.com/@jmcdartcritic in Ultimo, and also its extra new site in Parramatta. Many experienced professional commentators provide critical observations and suggestions.

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31 December, 2025
‘How Sydney’s Powerhouse Museum Was Lost’
Entering the new year of 2026, and following the recent government Inquiry into cultural funding, and 10 years of protests about the ‘destruction’ of the Powerhouse Museum in its city site in Ultimo, a thoughtful researcher has put together a video of the Museum’s history, and the many issues faced along the way. Video producer and Presenter, identified as TDW, is credited at the end, along with support from Save the Powerhouse Museum and the Powerhouse Museum Alliance, and others.
Save the Powerhouse has posted the video :
https://www.youtube.com/watch?v=QRwxKb0cC-Y  
They provide the following context, of which we are also well aware: ‘Sydney’s beloved Powerhouse Museum was an original, inventive institution that told the story of technology, scientific discovery, and the creativity they generated…. This video tells the story of how anti-democratic planning processes and political failures at every level have led to the destruction of one of the world’s most distinctive cultural institutions.’
It is recommended by TDW that we contact our local members of Parliament, and PMA adds that we request followup to recommendations made in submissions to the recent Inquiry (see below). For more information visit:  https://www.facebook.com/savethepowerhouse and previous reports below, and on earlier PMA links.

22 December, 2025
‘Powerhouse Museum Ultimo | Works notification | December 2025’
Despite concerns expressed in the recent Government Hearings for Portfolio Committee No 6, Infrastructure NSW announced that from 5 January there would be temporary footpath closures near the Powerhouse Museum, leading to later demolition and reconstruction. And despite great concerns about the proposed content of the Museum, they wrote: ‘The Powerhouse Museum Ultimo revitalisation will provide world-class exhibitions spaces focused on applied arts and sciences and a major new public domain. Early works by DECC will expand project hoarding to include footpaths around the museum on Harris and Macarthur Streets. …
From Monday 5 January 2026, for the duration of the project, the following pedestrian footpaths around the museum will be temporarily closed:

• Eastern footpath on Harris Street between William Henry and Macarthur Streets; and
• Northern footpath on Macarthur Street between Harris Street and The Goods Line; including the adjacent off-street parking.
  These temporary closures are required to expand the project hoarding to allow greater access to the Harris Street forecourt and eventually the new building.
  Read HERE or HERE: Powerhouse Museum Ultimo street closure

12 December, 2025′
Follow-up from Public hearing: transcript and video now available’
Following the first Hearing on 10 December, by ‘Portfolio committee No 6: Transport and the Arts’, the transcript and YouTube video recording are now posted on the government website.
This first hearing focused on arts funding, with speakers representing state galleries and museums, regional and state organisations, museums and galleries.
Powerhouse Museum Alliance supports the many concerns expressed by both regional and state cultural institutions, and was represented specifically here for our concerns about the Powerhouse Museum itself, by experienced members Jennifer Sanders, Lindsay Sharp and Kylie Winkworth. (See our submissions below, in the 9-16 December entry.)
For the speaker schedule for Arts funding on 10 December, READ HERE, or HERE: Hearing Schedule – 10 Dec 2025
And the Transcript is now available HERE  or HERE: Transcript – UNCORRECTED – PC6 – December 2025  (PMA interviews  from p24; PMA CEO from p56)
In the YouTube recording  HERE, timing location includes Jennifer, Kylie, Lindsay for PHM: 2.20 – 3.00; CEO Lisa Havilah (with Maud Page, AGNSW, in other spaces) from: 6.33 to 6.42 ; 6.45 – 6.53; 6.57 – 7.01; 7.06 – 7.08-12.
During their interview session where serious concerns were expressed about the current situation of the promised ‘saving’ of the Powerhouse Museum in Ultimo, and the more appropriate role for the Parramatta institution to be a separate regional rather than state institution, PMA speakers were invited to answer a key question: ‘What should happen now?’
It is hoped that their responsive submissions, and that of colleagues including Save the Powerhouse campaign,  can be published on the government webpage, and that we can soon make links to them here. Keep checking!

9 December from 16 November, 2025
‘Dates and details: Portfolio committee No 6: Transport and the Arts’
For the Inquiry into: ‘Structure and funding of the arts, music, night-time economy, and transport portfolios’ , some updates are here:
For those interested in attending, the Hearings are to be held on:
    10/12/25 in Macquarie Room, Parliament House, Sydney
    12/12 /25 in Preston Stanley Room, Parliament House Sydney
We are advised that the full schedules for both days may be published on line today (9 Dec) HERE, but while waiting, the following limited information is available:
On Wednesday 10 Dec, the schedule starts at 9.15, and from 11.30-12.15 Powerhouse Museum Alliance representatives Jennifer Sanders, Kylie Winkworth and Lindsay Sharp will  be speaking, and interviewed about their submissions and related issues.
See below for links to selected submissions.

16 November, 2025
‘Submissions to Inquiry for funding the arts in NSW: including issues regarding the future of the Powerhouse Museum’
As identified in our earlier posting on 23 October, submissions to Portfolio committee No 6: Transport and the Arts, for their Inquiry into: ‘Structure and funding of the arts, music, night-time economy, and transport portfolios’ closed on 14 November, 2025.
Among many other contributors, the Powerhouse Museum Alliance and our associated people and organisations have submitted their responses, and we look forward to reading all submissions on line soon. (Now updated, 9 Dec)
We have been aware that recent reports and news items had opened up questions about New South Wales government funding for museums, galleries and related organisations, in regional and central city locations.
Alongside serious concerns about demolition of key aspects of the well-established Powerhouse Museum on its Ultimo site, and vague information of future programs in both sites in Parramatta and Ultimo, are questions of loss of professional staff, costs of outside contracts, and possible overspending by government, at the expense of limiting or closing the continuing existence and programs of other institutions. These inlcude a large number of regional galleries and museums, the Art Gallery of NSW, and the Australian Design Centre in Sydney.
And it is noted that Hearings will take place at NSW Parliament House on 10^th Dec (Macquarie Room), and 12th Dec (Preston Stanley Room).  Transcripts are now on line. HERE:

Submissions have been made in response to these Terms of Reference:
TERMS OF REFERENCE (extracted from Govt web)
That Portfolio Committee No. 6 – Transport and the Arts inquire into and report on the structure and funding of the arts, music, night-time economy, and transport portfolios, and in particular:
(a) the processes, rationale and governance structures underpinning budget, resource allocation and organisational restructure decisions within these portfolios
(b) the role of central agencies and ministers in determining allocations and approving organisational changes
(c)  the transparency, timing and communication of decisions to affected agencies, employees and stakeholders
(d) the operational, staffing and program impacts of budget and restructuring decisions on:
(i)          Create NSW
(ii)         Sound NSW
(iii)        the Office of the 24-Hour Economy Commission
(iv)        the Art Gallery of New South Wales Screen NSW
(v)         Screen NSW
(vi)        the Museum of Applied Arts and Sciences (Powerhouse Museum)
(vii)       Transport for NSW
(e) the retention of professional expertise and institutional knowledge, including the adequacy of processes for knowledge transfer, mentoring and succession planning
(f) the extent to which restructures and workforce reductions have affected technical capacity, project delivery and service quality
(g) the reliance on external contractors and private consultants within the relevant agencies
(h) the adequacy of consultation with employees, unions and other stakeholders during periods of change
(i) the impact of budget and organisational decisions on services and programs across metropolitan and regional New South Wales
(j) the alignment of government decisions with stated policy objectives in cultural development, creative industries, and the safe and sustainable operation of the transport system,  k) and any other related matters.

LISTING OF SUBMISSIONS
The on-line list of nearly 80 submissions was updated on 9 December, and is now available on the Portfolio web page  HERE.  Later 13 Dec listing HERE:  251212 Submission Stats
Acceptance to  submissions has noted: ‘Please also be aware that once a submission is accepted by a committee it is protected by parliamentary privilege.’  So, these are direct links to the Inquiry website, and not separate publications.  They add: ‘Upon receipt, submissions need to be reviewed and circulated to the committee for their consideration before they are published on the inquiry webpage. Depending on the number of submissions received, this process can take some time.’
In the listing below are links to some submissions sent in from our PMAlliance members and colleagues.
POWERHOUSE MUSEUM ALLIANCE: Andrew Grant, Jennifer Sanders, Kylie
Winkworth and Dr Lindsay Sharp on behalf of the
Powerhouse Museum Alliance:  HERE 
No 24: GRACE COCHRANE (PMA): HERE
40 a, 40b: LINDSAY SHARP (PMA): HERE and HERE
No 78: JENNIFER SANDERS (PMA):  HERE
No 76: ANDREW GRANT (PMA): HERE
No 16: SAVE THE POWERHOUSE MUSEUM: HERE
No 27: TOM LOCKLEY: HERE
No 36: GARRY HORVAI: HERE
No 73: AUSTRALIAN DESIGN CENTRE: HERE
No 79: PUBLIC SERVICE ASSOCIATION of NSW : HERE
No 30: MUSEUMS & GALLERIES NSW: HERE
No 29: REGIONAL ARTS NSW: HERE

9 December, 2025
‘Key funding rounds suspended as NSW arts crisis deepens’
Linda Morris records, in the Sydney Morning Herald, a much-discussed current issue about arts funding, writing: ‘The Minns government has been accused of setting up the state’s embattled arts sector to fail after suspending two crucial funding rounds worth millions of dollars to artists and performers. Grants for Cultural Access and Creative Steps programs were not offered by Create NSW in its latest funding round in October, and the state’s chief funding agency has not committed to reopening applications in 2026.
The affected programs offer twice annual grants of up to $40,000 for individuals and $100,000 for organisations to create new artistic works or for those working in areas of disability, regional diversity and First Nations art and performance. Last financial year it distributed $6.8 million to 89 projects and 97 artists across the state. The setback is the latest example of “volatile, withdrawn and cancelled funding rounds” and transparency failures impacting the livelihoods of artists, according to a group of leading independent performing arts companies.’
Referring to the upcoming Inquiry Hearing, Morris notes: ‘They have warned a parliamentary inquiry that arts workers are receiving reduced levels of funding, in real terms – as are small to medium-sized not-for-profits that power the sector, and are responsible for cultivating the state’s next-generation talent and new audiences. A hearing has been called Wednesday to looking into arts funding following deep staff cuts at Create NSW and the Art Gallery of NSW and funding cuts to the Australian Design Centre and some regional galleries.
Inquiry chair Cate Faehrmann, the Greens spokesman for arts, music and the night-time economy, said a common theme in submissions was that the government wasn’t listening to the sector and was giving special treatment to a privileged inner circle.’
READ MORE HERE: or HERE: L Morris SMH 9 Dec 2025

9 December, 2025
‘In the Service of Story’
In the #618 issue of his online Substack newsletter, art critic John McDonald comments in great detail about what he (and others) see as inappropriate management of the Powerhouse Museum. Focusing on ‘Everybody loves a good story’, he wrote that ‘there’s never any shortage of subjects competing for attention…. until I read the latest instalment in the agonising saga of the Powerhouse, delivered by the Sydney Morning Herald’s arts scribe, Linda Morris [see also entry below, 4/6 Dec] The resulting buzz means the time to respond is now. The signs of change are there in Linda’s most recent piece, but despite the flurry of excitement among Powerhouse supporters who feel the tide may be turning, I’m not at all persuaded. Please note the way La Havilah’s plan to “upend the hierarchy of the museum” is presented as a reasoned proposition, when it’s the kind of thing the Huns and Visigoths would find alarming.
Criticisms of this “plan” are raised, but the fiction of a balanced argument is doggedly maintained. By now, it should be clear we’re not dealing with a carefully plotted strategy for growing audiences and extending the boundaries of museology. The Powerhouse “renewal” is a bloated mess that gets messier by the month as further expensive, hare-brained initiatives are added to the package, and large sums of money are channelled into the pockets of friends and “Associates”. When we read of Havilah boasting she has “102 collaborators from western Sydney, 117 from NSW, 90 nationally and 97 internationally,” one wonders how many of them are on the payroll? How many have been gifted trips, residencies or other perks? The Powerhouse project has become the cultural equivalent of driftnet fishing, scraping up all the funding that previously sustained an entire arts ecosystem. For this monster to indulge its megalomaniacal schemes, the Australian Design Centre has been effectively defunded, the Art Gallery of NSW has been financially crippled, the Museum of Contemporary Art has been virtually assigned to oblivion, and 18 regional galleries have either lost their state government lifelines or been given a slimmed-down handout, for which they are expected to be grateful.
The Havilah “plan” isn’t for a radical new “museum of the 21st century”, it’s for no museum at all. Whatever is being planned by way of performance spaces, function centres, contemporary art shows, artist residencies, rave parties, story writing competitions, dormitories, market gardens, demonstration kitchens, and science fiction blockbusters, have nothing to do with anything we might expect from a museum.
As former PHM curator, Kylie Winkworth, is quick to remind us, it’s all outside the museum’s legislated remit. … When the CEO says “2,500 objects from the Powerhouse collection will appear in the opening shows,” she doesn’t give any indication of the way these works will be used. Current form suggests they will be incorporated into ‘creative’ displays devoid of history and context, treated largely as ornaments. The underlying assumption is that audiences are bored with traditional museum displays and need to be constantly titillated by arty juxtapositions of disparate items devised by ‘creatives’ rather than curators.
This strategy, which presents itself as a radical new approach to museum display, is already a cliché that has worn out its welcome. When a museum decides to abandon scholarship and chronology in favour of spectacle and novelty, don’t be surprised if – rather than getting excited – audiences quickly lose interest. As I write, I’ve just seen a LinkedIn post by Dolla Merrillees, Havilah’s predecessor as CEO of the Powerhouse, who sounds a warning in precisely these terms. In contrast to Gus Casely-Hayford, she argues “this is not a debate between ‘traditional’ and ‘progressive’ museology,” but between a museum and an entertainment centre.
… Linda Morris tells us that Havilah’s strategy “is primed for the TikTok generation, for audiences who may have felt excluded from traditional institutions, and for multicultural communities largely absent from the museum’s collection.” On the surface this sounds generous and inclusive, but the base assumption is that today’s museum visitors have had their attention spans eroded by social media to the point where they can’t concentrate on reading a descriptive label. …
Is this the vision of the museum Havilah favours? A selfie magnet? An indigestible mixture of political correctness and mindless fun, of zero educational value? From the very beginning, education has been one of the core missions of the public museum, but Havilah’s model for a museum of the 21st century is, as Merrillees observes, an entertainment complex.
Havilah has form when it comes to treating education with disdain. Outlining her management philosophy in a public forum in Adelaide in 2021, she boasted about “…never explaining or trying to educate.” When it came to consultation, she was similarly brusque. “I didn’t ask the audience what they want,” she said. “I ignored the data.” (This speech has subsequently been taken down from the relevant website at the speaker’s request)
…In an ideal world, political speech would also be judged by its truth content, but John Graham, like so many of his peers, prefers propaganda and fables – in a word, “stories”. Today the successful politician is not the one with the best policies, but the one who tells the best stories – narrative being more persuasive than facts and figures. The claim that two million people will visit Powerhouse Parramatta in its first year is a fairy tale that attempts to justify the outlandish sums of public money that are being squandered.
READ MORE HERE: or HERE John McDonald 9 Dec

4 and 6 December, 2025
‘Is our new ‘museum’ brilliant, bonkers or just a big box?’
On-line (4/12) and in print ( as ‘Power Ahead‘ in Spectrum, 6/12)  in the Sydney Morning Herald, Linda Morris writes extensively about how: ‘A billion-dollar cultural experiment is about to open its doors – and no one can agree on what, exactly, it’s meant to be’… focusing on how ‘Parramatta Powerhouse is stirring debate about what it means to be a “museum”.’
Bearing in mind the recent 10 years of protests about moving the state Museum from its long-term location in Ultimo, in the Sydney state capital centre, to Parramatta, which deserves its own local and regional institution, Morris writes of the current CEO:
‘Under Havilah, the new Powerhouse is primed for the TikTok generation, for audiences who may have felt excluded from traditional institutions, and for multicultural communities largely absent from the museum’s collection … Critics argue that she has abandoned the museum’s core business and legislated core purpose in pursuit of “shallow entertainments”, dismissing the Powerhouse as “Carriageworks west”, the multi-arts centre she once led. Many of the controversies plaguing the Powerhouse – allegations of overspending, the marginalisation of curatorial and conservation teams – at least partly stem from this core battle and the political decisions that reshaped the museum’s future.’
Morris notes that: ‘Parramatta will become the Powerhouse’s fourth home in 150 years… In 2014, then NSW premier Mike Baird dropped a bombshell: he planned to relocate the Powerhouse to a parking lot on the Parramatta River to deliver western Sydney its first dedicated cultural institution. The announcement sparked protests, several inquiries, and policy backflips. Labor ultimately inherited the project, pledging to complete the Parramatta build and committing to an Ultimo renovation. The combined price tag now tops $1.4 billion.’
Morris continues to discuss at length, identified issues of exhibition content and presentation, including: ‘What it will not have, unlike Ultimo, is a permanent collection display or on-site storage’; ‘“Powerhouse is becoming an exhibition space like Carriageworks, not a museum that hosts exhibitions,” one insider says.’; ‘Museum curators and conservators have also complained, via their union, that they have been sidelined for “artistic associates” – including chefs, writers and photographers – with limited knowledge of the collection’; ‘Former executive staffers told a recently convened parliamentary inquiry the scholarly research and documentation of the collection was being downgraded at great risk to the museum’s standards of professionalism and its education mission. They nominate dozens of specialist positions they say have been deleted over the last two decades through attrition, budget cuts and restructures.’.
And locally: ‘The loss of local heritage also stings. The historic Willow Grove villa was demolished in 2021 to make way for the Powerhouse. Meade, who led the protest, says: “All I see is a huge convention centre where we could have the Museum of NSW.” ‘
As well as identifying extensive costs for five 2-year-long opening exhibitions for 2026 (including $18 million for one of them ‘more than double the Art Gallery of NSW’s total budget for opening shows at Sydney Modern’, and at a time when a government Inquiry is questioning the reduction of funding to regional museums in NSW), Morris notes that: ‘The Public Service Union says a “decade of trauma” to its members and the community could have been avoided if the government had heeded its advice and established the museum in Parramatta without gutting Ultimo. “However, it is never too late. The museum everyone loved can be re-established at its flagship location of Ultimo,” the union says.’
READ MORE HERE: or HERE  SMH L Morris Powerhouse Parramatta 4 Dec 2025
Read also the Spectrum editorial by Melanie Kembrey, introducing the article HERE:  Spectrum editorial 6 Dec
(And Powerhouse Museum Alliance adds here, that great concerns are still held for the ‘saved’ Ultimo site, that is currently being seriously dismantled, with disregarded heritage issues, and no clear information of its future role purpose and program.)

23 November, 2025
‘THE GOVERNMENT BELIEVES THAT IT KNOWS WHAT IS BEST FOR NSW’
Save the Powerhouse expands on its earlier report (18 Nov below) about the destruction of Heritage buildings at the Museum in Ultimo, adding:
‘Despite universal opposition, the Executive Director, Housing and Key Sites Assessments, under delegation from the Minister for Planning and public spaces has now APPROVED Infrastructure NSW’s “Powerhouse Ultimo Modification 1” (SSD-67588459-Mod-1).’  READ HERE.
And they add: ‘The SSD Assessment Report attached to the “Recommendation” is a masterpiece of bureaucratic jargon’: READ HERE.
Following further details of reports and comments, they add:
‘In our previous post we commented on how recent NSW’s undemocratic “exception laws”, especially the State Significant Development (SSD) scheme, had eliminated all checks and balances from major government decision-making.’ But “we have seen nothing yet” warns Upper House Member Sue Higginson MLC. Listen to Elizabeth Farrelly’s interview with Sue Higginson on East Side 89.7FM’s “The Sydneyist” program on Thursday 20 November HERE . The interview focused on the Environmental Planning and Assessment Amendment (Planning System Reforms) Bill 2025.’
Save the Powerhouse continues: ‘The independent expert government agencies “which are charged to provide frank and fearless advice on development applications (DAs)” will see their advice deemed unnecessary (illegal) or taken out of their hands to be negotiated by the Development Coordination Authority , aka the Planning Secretary. “The concentration of such power in a single set of hands is a corruption element. They are so more easily influenced.”  The new bill will “let the technocrats drive the ship” and “the public and the Councils will be shut out” when “we just know that the best (planning) decisions are the ones that are most well informed by local communities.” “We have come to a place where the Government honestly believes that they know what is best for NSW.” ‘
And they remind us that: Hearings of the Upper House Inquiry into “Structure and funding of the arts, music, night-time economy, and transport portfolios” READ HERE   will take place on Wednesday 10 December and Friday 12 December. The witness lists will be made available at a later date.’
READ SAVE’S FULL MESSAGE HERE:  Save the P 23 Nov

18 November, 2025
‘THE NSW PLANNING DEPARTMENT APPROVES THE WRAN HERITAGE DESTRUCTION’
Concurrent with the welcome new Govt Inquiry into funding and management of Museums and other arts organisations (see 16 Nov below), Save the Powerhouse Museum reported by email and in Facebook , that: ‘The Executive Director of the NSW Department of Planning and Environment has now approved Infrastructure NSW’s “Powerhouse Ultimo Modification 1” (SSD-67588459-Mod-1), which proposes the complete demolition of all Wran-era additions to the Powerhouse Museum — the Wran Building and the Galleria — and their replacement with approximate brick-clad replicas. READ HERE. The modification to the previously approved “Heritage Revitalisation” SSD will now, almost certainly, be “recommended” to the Planning Minister, who will, almost certainly, swiftly “determine” (approve) it, allowing heritage demolition to begin.’
Save the Powerhouse then provided a list of well-researched extra details, outlining the universal opposition to these changes and the breaking of promises, then continued:
‘This episode demonstrates how NSW’s undemocratic “exception laws”, especially the State Significant Development (SSD) scheme, have eliminated all checks and balances from major government decision-making.
The Treasury, the Planning Department  (whose duty is to assess SSD applications at arm’s length), and the Heritage Department — all of which are meant to independently ensure that developments are cost-effective, heritage-respectful, and in the community’s interest — have instead aligned themselves with the Museum’s management and Infrastructure NSW to facilitate the destruction of a respected, heritage-listed, world-class museum of science and technology, at immense cost to NSW taxpayers.
Demolition is expected to begin soon. Once the Wran Building and Galleria are gone, they will be lost forever. History will judge this harshly! READ MORE HERE:  Save the PM 18 Nov

3 November, 2025
John McDonald: ‘When I hear that whistle blowin’…
Appropriate to the upcoming new Inquiry about NSW cultural funding, art critic John McDonald, in his regular newsletter, followed up recent reports about how the Powerhouse Museum has been expanding payments to outside museum staff. These included from the Public Service Association, and Linda Morris’s SMH article about ‘… how a whistleblower has made accusations of “serious wrongdoing” in connection with “hiring and procurement practices”.
McDonald wrote: ‘ Sounds about right. After five or six years, and many millions of dollars, the bill for contractors has finally qualified as news… This article inspired me to look at the Budget Estimate hearings of 29 August, and the supplementary questions that ensued …. Perhaps the most revealing section concerned the so-called “Artistic Associates”, who have been employed at the Powerhouse on a regular basis since 2021-22. It’s worth looking at the full picture: who was employed, at what level of remuneration.’
McDonald then listed a wide range of payments to external ‘Artistic Associates’ in recent years, writing ‘…one wonders why staff couldn’t have handled these tasks. When searching the site using the names of individual Associates, there’s nothing much to be found. …[CEO] Havilah would probably argue the Associates are taking the museum in new directions, such as contemporary art, the culinary and literary arts. Her critics would counter that most of this has no place in a museum of applied arts and sciences, being well catered for by other kinds of institution. Yet this argument is of secondary relevance alongside the extraordinary salaries that have been handed to the Associates for work that is virtually invisible…. – most of whom seem (coincidentally) to be longterm acquaintances of Havilah’s … It also suggests a distrust of existing staff, especially the curators, who might not be fully on board with the gleaming new vision of the museum … This brings us back to the $9,485 million paid out to consultants in 2023-24. Has there ever been a museum director in Australia with such fondness for outside consultants? ‘
He then commented: ‘We can cheer on an investigation by an upper house committee “examining the operational, staffing and program impacts of budget and recent restructures,” not to mention “reliance on external contractors and private consultants”. Whether it comes to grips with the problem and manages to do something about it, remains to be seen…’.
‘… One might speculate there are two motivating factors behind Labor’s historic betrayal of the Powerhouse, the first being the politicians’ belief they can buy votes in the western suburbs by backing Powerhouse Paramatta to the hilt. …The second is the conviction that processes were already so far advanced when they assumed power, it was impossible to wind them back. This has led to an implicit endorsement of Havilah’s patronising vision for the western suburbs, and her frankly bizarre ideas about what constitutes a new kind of museum.
Even if John Graham is committed to see the Powerhouse circus through to the finish line, there’s no reason why he needs to accept the multi-million-dollar wastage of funds on frivolous handouts to anybody Havilah deems worthy of her/our munificence. Indeed, the Dear Leader’s self-confidence has reached new heights when she can brazenly announce that the opening show at Powerhouse Parramatta will be about space and cost a mere $18 million. This, at a time when every other institution is virtually begging in the streets. Please remember Mr. Graham, you are her boss, not vice versa. It only looks like you are obeying orders.’
Expanding on information of such changes in staffing , McDonald provides details of some significant resignations and appointments, …’This is right in line with the typical Havilah approach to curatorship, where she favours those without specialised knowledge or expertise… In her new version of the museum, the CEO values creativity over know-how. This may sound pretty cool but as the Public Service Association notes, it’s an insult to those who have spent their lives studying a particular subject. It also confers an absurd prestige on artists, whose funky ideas are considered more important than any in-depth understanding of the collection. The result does away with any pretence of scholarship, which is obviously felt to be too boring or difficult for audiences today. Items in the collection, drained of context, become a series of theatrical props.
My own conviction is that the director who underestimates the public’s desire to learn from a visit to the museum, rather than simply be entertained is engaged in a tragic folly…’
‘Any parliamentary inquiry should look at the people who have left the Powerhouse, and those that have been hired, as long-standing curators have been replaced with utterly unqualified people from many different walks of life with no museum experience. It appears that many newly created positions are fanciful in the extreme. Towards the end of 2023, the Powerhouse Museum Alliance published a long list of curatorial positions that have been lost. If there’s a list of current curators and their titles, I’ve yet to locate it.’
‘… One of the problems I had when examining the Budget Estimates, is deciding whether [Arts Minister] John Graham is suffering from wilful self-delusions, or whether he has internalised his spin doctoring to the point where he simply blurts out whatever happens to be the most convenient answer, even to a parliamentary committee. As you may recall, in June, 18 regional galleries had their 4-year recurrent funding applications rejected by the NSW Ministry of the Arts for no apparent reason. In April, the Australian Design Centre had its $300,000 allocation chopped by Create NSW, following the removal of a $200,000 annual grant from the Federal Ministry of the Arts in January. In August, the Art Gallery of NSW announced drastic staff cuts after it saw $7.2 million sliced from its budget. In the same month the Ministry made the magnanimous gesture of restoring partial funding to some of the applicants they had dumped in the first round…. [But] This week, after months of canvassing for private support, the ADC bowed to reality and announced it would be closing by June next year, pending some miraculous rescue … Perhaps Mr. Graham would consider working for less than a third of his current salary, just to demonstrate how easy it is do “fantastic work” with so little money.’
McDonald then includes references to funding issues associated with other major events and institutions, adding ‘not to mention the uncertain prospects of many other regional galleries. Just as interesting is the effort to claim that the money lavished on the Powerhouse bears no relation to the money pulled from other cultural organisations. When Mr. Graham was asked by Greens MP, Cate Faehrmann, to account for spending on the Powerhouse that reveals “a 275 per cent increase from last year to this year. That is 98.8 million to 279 million,” his answer was evasive.… Neither was Mr. Graham forthcoming when asked about an additional $67.6 million in funding handed to the Powerhouse for the financial year 2023-24. That question was taken on notice…’
‘Finally, there is a great deal of confusion as to what expenses are being assigned to the Powerhouse, to Create NSW, and to “major works”….After reading the Budget Estimates transcripts, anybody would be confused about how much government money is actually being spent on the Powerhouse’ … ‘Former PHM curator, Kylie Winkworth, has calculated that between now and 30 June 2026, the government is set to spend $1,655,000 per day trashing the old Powerhouse and propping up the new model, which isn’t a museum at all. Let’s put these figures into perspective. The ADC’s entire yearly budget could be met with less than 8 hours’ worth of the funds being lavished on the Powerhouse. The AGNSW’s budget cuts could be restored by four days of Powerhouse largesse, while one or two days would be enough to restore complete funding to the regional galleries. Is Treasurer, Daniel Mookhey, asleep at the wheel?’
‘The way the Powerhouse is evolving (or devolving) is not an arts problem it’s a financial sinkhole of cosmic proportions that the Ministry will not be able to spin away with gushing, insincere press releases. To achieve this fabulous result the Minns government will have destroyed cherished state heritage; crippled successful, productive arts organisations; wasted a gargantuan amount of taxpayers’ money; and turned an important museum into a tacky sideshow devoid of an identity. In the eyes of the world it will be a colossal embarrassment.
Just imagine, Dan, if government had spent only $200 million on a facelift for the Powerhouse at Ultimo, there would have been an extra $1.8 billion to waste on other crazy projects.’
READ MORE HERE, or HERE:  John McDonald 3 Nov 2025

4 November, 2025
THE POWERHOUSE MUSEUM HAS BECOME “A FINANCIAL SINKHOLE OF COSMIC PROPORTIONS”
Following McDonald’s editorial, Save the Powerhouse also circulated comments, and reminded us of the upcomingInquiry, including:
‘We could not agree more with John McDonald!
The Upper House Inquiry into “the structure and funding of the arts, music, night-time economy, and transport portfolios” https://www.parliament.nsw.gov.au/committees/inquiries/Pages/inquiry-details.aspx?pk=3150#tab-submissions accepts public submissions until Friday14 November.
We strongly encourage you to read its Terms of reference https://www.parliament.nsw.gov.au/lcdocs/inquiries/3150/Terms%20of%20reference%20-%20Transport%20restructures%20in%20NSW%20-%20Updated%2029%20October%202025.pdf and lodge your submission before this date. Numbers will count!’
READ MORE HERE:  Save the Powerhouse Museum 4 Nov

29 October, 2025
Investigation launched into allegations of ‘wrongdoing’ at Powerhouse museum
In the Sydney Morning Herald, Linda Morris announced that ‘An investigation has been launched into allegations of serious “wrongdoing” at the Powerhouse Museum after a staff whistleblower made a protected complaint. The inquiry by the Department of Creative Industries, Tourism and Hospitality follows a complaint under the Public Interest Disclosure Act, which provides whistleblowers with protection from retribution.
It is understood to include concerns around hiring and procurement practices at the museum, which is opening its new $915 million western Sydney headquarters next year.
‘All reports of wrongdoing and public interest disclosures are taken seriously and actioned appropriately by the department,” a department spokesperson confirmed.
“The department has engaged an independent firm to investigate a complaint relating to staff at the Museum of Applied Arts and Sciences. The investigation and handling of the complaint is in progress. It would not be appropriate for the department to provide any further comment at this stage.”
It’s the second probe called into the operations of the Powerhouse this month, with the upper house’s portfolio committee naming the museum, the Art Gallery of NSW (AGNSW), Sound NSW, the Office of the 24-Hour Economy and Transport NSW in a limited inquiry examining the operational, staffing and program impacts of budget and recent restructures, including these agencies’ reliance on external contractors and private consultants.’
Morris also adds that: ‘It comes just weeks after the AGNSW moved to axe 45 jobs to repair a $7.5 million budget black hole, and as the Minns government convened an arts tax summit to find ways to bolster support for the beleaguered arts sector amid rising costs, stagnating government funding and a lingering cost of living crisis. The Public Service Association raised external hiring issues with Arts Minister John Graham in May and has called for an audit into the museum’s expenses in light of gallery cutbacks.’
And other references are also made to questionable payment processes and events. READ HERE, or HERE  SMH 29 Oct 2025

23 October, 2025
New Govt Inquiry:’ Structure and funding of the arts, music, night-time economy, and transport portfolios’
This new inquiry for Portfolio Committee No. 6 – Transport and the Arts announced on the NSW government website HERE   that ‘This inquiry was established on 23 October 2025 to inquire into and report on the structure and funding of the arts, music, night-time economy, and transport portfolios.’
It provided information about the Inquiry members, and lists of current and forthcoming information (Members, Terms of Reference, Timeline, Submissions, Hearings and Transcripts, Reports and Government Responses, Other Documents, Contact us.}
And it was announced that submissions could be made HERE, closing on 14 November 2025.
The Terms of Reference are very relevant to the many issues associated with the overspending and questionable programming of the Powerhouse Parramatta site, and the destruction of so much of the Powerhouse Museum site in Ultimo.
As well as concerns about the overspending , and management of decision-making for the Powerhouse Museum, including the spending of for example, $18 million for one of five opening two-year exhibitions in Parramatta, other issues have been raised by an informed public included the serious defunding of important regional arts organisations, and the ADC (Australian Design Centre).
READ HERE: Terms of reference – structure and funding of PC 6 portfolios – Self-referred – 23 October 2025
Extract: TERMS OF REFERENCE
That Portfolio Committee No. 6 – Transport and the Arts inquire into and report on the structure and funding of the arts, music, night-time economy, and transport portfolios, and in particular:

• the processes, rationale and governance structures underpinning budget, resource allocation and organisational restructure decisions within these portfolios
• the role of central agencies and ministers in determining allocations and approving organisational changes
• the transparency, timing and communication of decisions to affected agencies, employees and stakeholders
• the operational, staffing and program impacts of budget and restructuring decisions on:
  • Create NSW
  • Sound NSW
  • the Office of the 24-Hour Economy Commission
  • the Art Gallery of New South Wales Screen NSW
  • Screen NSW
  • the Museum of Applied Arts and Sciences (Powerhouse Museum)
  • Transport for NSW
• the retention of professional expertise and institutional knowledge, including the adequacy of processes for knowledge transfer, mentoring and succession planning
• the extent to which restructures and workforce reductions have affected technical capacity, project delivery and service quality
• the reliance on external contractors and private consultants within the relevant agencies
• the adequacy of consultation with employees, unions and other stakeholders during periods of change
• the impact of budget and organisational decisions on services and programs across metropolitan and regional New South Wales
• the alignment of government decisions with stated policy objectives in cultural development, creative industries, and the safe and sustainable operation of the transport system, and
• any other related matters.

25 October:
Among many reactions, Save the Powerhouse wrote on :
‘The Inquiry is SELF-REFERRED, reflecting the increased unease in the NSW Parliament about mammoth vanity arts investments such as the Powerhouse Museum Parramatta Milkcrate, Castle Hill warehouse and Ultimo destruction , the (diminishing) operational funds allocation and the increasing secrecy surrounding these operations. Read John McDonald’ editorial “Create NSW’s Private Lives” https://www.everythingthe.com/p/private-lives “Create NSW has done little to allay suspicions that a good deal of grant money has been devoted to funding Powerhouse-related projects by stealth…(and)…the bulk of successful applications have been declared “private”…This “privacy” requirement is outrageous. I’ve never heard of anyone being harassed for receiving an arts grant, and even if this were so, it should not overrule the principle that unsuccessful applicants have a right to know where grant money went, so as to assist them with future applications. There’s also the small matter of it being taxpayers’ money, so the citizens of NSW have a legitimate interest.”
Public Submissions can be lodged on the NSW Parliament website HERE  until Friday14 November.
This is a new opportunity to express our STRONG OPPOSITION at the demolition of our world-class Applied Arts and Science Museum, the destruction of the Wran Heritage, the enormous and endless waste of taxpayers’ money and the Arts Minister John Graham’s broken promises to “Save the Powerhouse Museum” and restore transparency.
READ MORE HERE:  Save the PHM 25 Oct

October 13, 2025
‘Australian arts leadership in action. Next year, outer space.’
In no  #611 of his regular newsletter, experienced art critic John McDonald acknowledges in his ‘Ostrich Outlook’ report, that ‘having taken on the role of the artworld’s Neighbourhood Watch, it’s amazing how many people send me tips-offs, inside information, or alerts about scandals waiting to happen’ and where ‘… Regardless of who can and can’t be identified, the name of the game is Accountability … The ostrich position, head-in-the-sand, is now the fall-back position for most outlets.’
After discussing a number of current arts issues associated with prizes, funding, curatorship and management, financial support and the role of collectors, he continues with expressions of financial and program concerns regarding the Powerhouse Museum:
‘One would think that arts bureaucracies funded by the taxpayer would be utterly transparent in all their activities. But as these editorials have shown, such bodies have become more secretive than ASIO. The NSW government now declines to tell us where it is distributing its largesse, citing previously unheard-of “privacy” concerns. In NSW, the role of Arts Advisor, could be more accurately defined as “Legal Advisor”, instructing the Minister on how to ‘get away it’ when he chooses to defund many of the leading arts institutions in the state in order to give more money to his pet monster, the Powerhouse. This is where the sudden concern for “privacy” comes in….
As ever, the gold standard of frightful information is the Powerhouse. Some of it arrives courtesy of insiders and former employees, but the most bizarre stuff comes via press release from head office. For instance, we’ve just had the announcement that the grand opening of the billion-dollar Powerhouse Parramatta (tentatively set for September next year) will feature a show called Task Eternal as its major exhibition. The press release explains:
“Developed over four years, Task Eternal is an expansive and immersive exhibition
tracing humanity’s enduring quest to defy gravity, take flight and journey into space – from
First Nations sky knowledges and early aviation to cutting-edge aerospace innovation, ethics
and speculative futures.”
There’s that word, “ethics”! In brief, it’s a show about space, but with added Aboriginality, a bit of second-hand James Turrell, and anything else that can be tossed into the kind of cultural hotpot favoured by Great Helmsperson, Lisa Havilah. Further details were revealed in a Sydney Morning Herald article by arts sleuth, Linda Morris, who tells us:
“The show marks a sharp shift in approach away from exhibitions anchored in object display           and explanatory text to one that chief executive Lisa Havilah says stresses diversity, inclusion        and a plurality of voices from astronauts, artists and engineers to First Nations’ elders, to                  scientists and speculative writers… It will also be the most expensive of the opening
exhibitions at the new $915 million Powerhouse headquarters. Sources inside the museum
say it will cost at least $18 million.”
McDonald continues: ‘…That’s more than four times the annual funds the NSW government provides for the Museum of Contemporary Art. Even positive-thinking Linda couldn’t help noticing that this is being trumpeted at the same time the Art Gallery of NSW, is having $7.2 million slashed from its annual stipend, forcing it to make drastic staff cuts. The display will be based on a science fiction novel, Tower of Babylon, by Ted Chiang, continuing the Powerhouse’s preference for fiction over heritage, and literature over material culture. The material aspect is quite significant however, in that it will see a six-storey structure built inside the museum using 60 tonnes of steel. This fabulous apparition will remain in place for two years, using a changing collection of items from the Powerhouse collection as if they were baubles on a Christmas tree. Remember, there’ll be none of this nonsense about “explanatory texts”, it’ll be pure spectacle, fun and games for all the family.
… Much as I hesitate to strike a sour note, I wonder if a significant majority of readers might consider it an obscenity to be shelling out $18 million on a two-year display at a time when every other institution is being cut back to the bone. My bold prediction is that the display will get big attendances for the first few weeks, maybe for a few months, then the flood of visitors (no flood plain jokes intended), will slow to a trickle. Two years down the track, Powerhouse will be looking at the biggest operating deficit every registered in the state of NSW.
This is obviously what NSW Minister for Arts and Hooplas, John Graham, has in mind, because he has carefully shepherded this project through the treacherous headlands of public and expert opinion, showing no interest in a realistic assessment of costs, or what the public might actually want. Mr. Graham has such implicit trust in his visionary Helmsperson that he has allowed her to say pretty much anything she likes to Budget Estimates and have as much money as she needs to feed her megalomaniac fantasies…’
‘… No less revealing are the micro details of the Powerhouse project – a saga of palace intrigue straight out of Suetonius’s Twelve Caesars, only this time, there’s only one supreme ruler. Allegedly, there is an inner circle of favoured retainers, and a large host of workers completely confused about their job descriptions. If a member of the inner circle actually disagrees with the Leader they are likely to find themselves banished to the ranks of the hoi-polloi. … It’s no surprise that staff are confused, because most of the people hired for top positions at generous salaries have no museum experience whatsoever, all hailing from different parts of the corporate world. That dwindling band of curators who know about the collection and about museums, are treated as sherpas expected to act as guides, to fetch and carry for the assorted band of neophytes, “associates”, and celebrities who are invited to “do shows”. …Among staff there is a growing suspicion that the Leader just makes it up as she goes along, firing off thought bubbles in all directions. What we need is a competition for stories about the Parramatta River!… Another Games festival! More dormitories! More market gardens! More kitchens! Bring on the dancing chicken! There’s no end of good ideas, none of them bearing any resemblance to what we might expect from a museum.’
‘… After every novelty item has been exhausted in a furious attempt to spend all the money gifted to the Powerhouse by John Graham, we get down to the Orwellian assault on language itself. What was previously known as the museum’s Education department is now called The Academy. Instead of applying for a job as an Education Officer you can apply to be an Academy Program Producer! … Some may remember Havilah’s famous Adelaide speech of 2021 – now strangely removed from the Internet – where she discussed her leadership secrets: “I didn’t ask the audience what they want. I ignored the data….”, “In every instance – even when I wasn’t going to – I always asked: ‘How can I help?’” (my italics) She recommended “…never explaining or trying to educate.” Under her expert stewardship, as former curator, Kylie Winkworth has noted, the museum experienced a 90% decline in self-generated revenue over the first five years, while education participation declined by more than 50%. These glowing results have been richly rewarded by Mr. Graham, who obviously subscribes to the theory that when you’ve run up a big gambling debt, the best way to fix it is to make bigger bets.’
‘…We are now into Year Seven of the Havilah Empire, its continuing grandeur being propped up by its absorption of all the government funding previously divided among dozens of other museums, galleries and arts organisations. With a new $18 million display on the drawing board, there’s no suggestion that this voracious gluttony is ever going to diminish. If $18 million is the projected cost, it’s almost guaranteed to go over budget. While it’s well known that NSW Treasurer, Daniel Mookhey, has no interest whatsoever in the arts, does he have an interest in watching vast quantities of government money being vaporised as soon as it gets within reach of the Powerhouse? Will Mr. Mookhey be proud to put his name to this financial apocalypse when it finally detonates? Or when Powerhouse Parramatta, with its sixty extra tonnes of steel sinks into the soggy banks of the Parramatta River? Now there’s a prize-winning science fiction river story just waiting to be written.’ READ MORE HERE: John McDonald 13 Oct

October 1, 2025
‘Powerhouse Ultimo Modification 1: Response to Submissions’
Save the Powerhouse Museum reports (on email and Facebook) that ‘Infrastructure NSW (INSW) has now produced its “Response to Submissions” to the public exhibition of the “Powerhouse Ultimo Modification 1” EIS (Environment Impact Statement) in July.’ (Read here)
They note that: ‘The proposed Modification includes the complete demolition of the Wran Building and Galleria, replacing them by replicas of a not-to-dissimilar shape as well as the removal of the proposed new loading dock along Macarthur Street, replaced by that existing in the Harwood Building. The Department of Planning and Environment (DPE) is now assessing the SSD (State Significant Development) Modification DA. This will be followed by a Recommendation to the Planning Minister and his “Determination”. Despite the fact that the public exhibition period was reduced to 2 weeks, it attracted 32 submissions, all OBJECTING to the project except that of an escort agency. Objectors included the City of Sydney which noted that “the now total demolition and reconstruction of the Wran Building and Galleria structure is disappointing and not supported. The modification comes after commitments were made to Council and the community about the Wran Building.”
Despite universal opposition to the total eradication of the Wran heritage, the Addendum Heritage Impact Statement (Read Here)  prepared by  NBRS, “an integrated design practice: Architecture, Heritage, Interior Design, and Landscape Architecture with expertise in Education, Wellness, Community, and Secure Spaces” states that “in recognising the value of the design of the Galleria structure and the resulting distinctive spatial character, the mitigation strategy proposed to reconstruct the Galleria portal frame structure in a ‘like for like’ manner will ensure the spatial and aesthetic quality of the space is conserved for the future. This approach has a positive heritage outcome (SIC)…” ignoring that replicas violate fundamental international heritage principles.’ …  Nevertheless, the Modification will, no doubt, be diligently “determined” as approved with the now well-established SSD rubber-stamping process. Meanwhile, without waiting for the determination, demolition is now progressing along Harris Street, in the forecourt, on the Switch House roof, at the end of the Goodsline…and, probably, inside the Museum. This does not pass the proverbial “pub test”, but the current Government, plagued by large construction overrun costs on Metro West, the Fish Market, the Parramatta Milkcrate and other white elephants and its inability to reach its own home construction target, seems unable to halt its very unpopular and totally unnecessary project. Is this democracy?’ READ ALL HERE: Save the P October 1

29 September, 2025
‘Powerhouse Museum builds ‘tower to stars’ for $18 million opening show’
In the Sydney Morning Herald, Linda Morris provides much awaited information about the proposed exhibition plans for the Powerhouse (Museum) in Parramatta, writing: ‘A six-storey tower is being built inside the largest exhibition hall of the new Parramatta Powerhouse for a blockbuster show that will unpack humanity’s fascination with stars, flight and space. Details of the most ambitious and expensive of the five shows planned for the museum’s September 2026 opening are to be announced at the launch of this year’s International Astronautical Congress 2025 on Monday morning.’ … With what appear to be comparatively few works from the collection, ‘The big-budget Task Eternal will feature 290 loans from international science and cultural institutions, space agencies and start-ups across 12 countries, including some from the British Museum and NASA. They include satellite probes, Australian astronaut Katherine Bennell-Pegg’s spacesuit, on public display for the first time, engines, flying prototypes and planes. Many are still under wraps, to be announced closer to the opening date.’
Of considerable concern to long-term enthusiasts of the Museum in Ultimo, and its earlier engaging background stories associated with the wide collection, Morris also writes: ‘The show marks a sharp shift in approach away from exhibitions anchored in object display and explanatory text to one that chief executive Lisa Havilah says stresses diversity, inclusion and a plurality of voices from astronauts, artists and engineers to First Nations’ elders, to scientists and speculative writers.’
And, for its wide audience, bearing in mind the great concerns regarding cancelling of funding and loss of staff for other state and regional organisations, Morris notes that: ‘It will also be the most expensive of the opening exhibitions at the new $915 million Powerhouse headquarters. Sources inside the museum say it will cost at least $18 million.’ And it is noted elsewhere, that all will only be on display for two years, with some exhibits ‘rotating through’, rather than being ‘permanent changing exhibitions’ as originally organised in the Ultimo site as contexts for temporary exhibitions and events, raising further questions of future funding!
Costs also include contracting of external staff, as most knowledgeable professional former staff members are no longer there. Morris writes: ‘Beijing-based husband and wife team Li Hu and Huang Wenjing from OPEN architecture are behind the Powerhouse design. “Wait until you see,” says Wenjing of the exhibition. “This is such a vast and ambitious project, space, the sky, exploration, success, failure, tragedy, achievement, everything. So this will be a very compressed experience with a lot of amazing surprises.” ‘ READ HERE, or HERE  SMH 29 Sept

29 September, 2025
‘Humanity’s space ambition to be focus of first Powerhouse Parramatta exhibition’
In ABC Radio Sydney, Declan Bowring also reported on the announcement, saying: ‘The new Powerhouse Parramatta will open with the largest exhibition space in the country, with a focus on humanity’s mission into outer space. Cutting edge technology, spaceship parts and the history of space exploration will feature in the two-year exhibition at the new western Sydney museum.
The exhibition, dubbed Task Eternal, will be housed in an 18-metre high space over 2,200 square metres in which visitors will ascend through four sections.’…and: ‘The space exhibition will be one of five exhibitions at the Parramatta site when it opens in late 2026. “We don’t have a date as yet, but it’ll be in that very end of next year,” Ms Havilah said. Ms Havilah told 702 ABC Radio Sydney that all the exhibitions at Powerhouse Parramatta will be temporary.  “Some will go for a year, some will go for two years, but there’ll always be new exhibitions and new stories,” Ms Havilah said.
“We’ll open with five major exhibitions and so we’re just announcing the first one today, which is really exciting, and so over the next year we’ll share the other projects and exhibitions that are coming up.” READ HERE, or HERE  ABC re Parra 29 Sept 25

Comments from Powerhouse Museum Alliance:
Along with concerns about the apparent change from being a state museum, to being a short-term local entertainment site, some comments from PMA members include:
‘…no wonder the arts and culture budget for the rest of NSW was slashed! And this is just one ‘experience’ for two years! In one big un-air-conditioned space? Maybe it’s crammed into the 5,000m2 space with air con. Or the architects building in a building has its own air con and lifts and emergency exits in the big space which is actually just a large shed – multi-purpose… Powerhouse Parramatta really is a convention/ exhibition/ eating/ theatre/ events/spending your money centre for The Western Sydney Business Chamber as requested.. It cost me 35 pounds to got to Frameless London and see 8 immersives – just visuals and sound –  this will be way more expensive. I suppose (Treasurer) Mookhey knows what he’s doing…’
‘It’s the P1 space with the operable wall opening to the river and no climate control, especially not at the upper levels. Plus trucks driving into the space to bump in infrastructure for markets, conferences, and concerts. From memory the space is 20m high, so strictly speaking Havilah’s tower of babel, an apt metaphor, can’t be six storeys high. Best case scenario is that it has a lift and its own climate control but I can’t see how this will work for large objects suspended from the trusses.’
I suppose Mookhey knows what he’s doing……. I think he must be terrified! If it’s $18m for two years for the exhibition what does this mean for the recurrent budget? The replacement exhibition will be what $25m? The wheels falling off Havilah’s unsustainable museum concept.  At least the Bleriot will be above the Probable Max Flood level of 3.5m through the ground floor.’
And regarding the significance of the Ultimo site, currently undergoing massive internal demolition, and the lack of information so far about the future representation of the breadth of the collection of ‘applied arts and sciences’, and its past and present relevance, is:
‘Friday marked 170 years since the first passenger train in NSW travelled from Sydney to Parramatta. But where was the internationally significant cultural treasure inextricably linked with this transformative development in Sydney’s history? Where was the historic No. Locomotive and carriages, which in any other city would have been a focus for celebrating 170 years of passenger train travel in NSW?  Sydney’s internationally significant No.1 Locomotive, tender, and first, second and third class carriages are gone from the former Powerhouse Museum that was purpose designed to display these treasures. The museum that Labor promised to save and keep open is closed and set for demolition. So one of the museum’s greatest treasures has been derailed, decoupled and disappeared to a gloomy shed at Castle Hill, uncelebrated and un-remarked.
This assemblage is unique in global railway history. It will never be reinstated as it was in the Powerhouse Museum. Instead of the PHM’s purpose designed setting resonant of a nineteenth century railway station, complete with platform, the museum that Labor promised to save is set for demolition. The management’s big idea is to turn this glorious soaring space into a dingy staircase and passageway. ‘
And ‘…The same can be said for the equally rare rake of period carriages that languish in the gloom at Castle Hill. And this is in stark contrast to the high profile recognition of the 150th anniversary in 2005 when John Watkins, Deputy Premier and Minister for Transport of a previous Labor Government, officiated at the opening of an upgraded Locomotive No.1 exhibition at the Powerhouse Museum. If there was any doubt about the then Government’s endorsement of the historical significance of the occasion, Railcorp was pleased to throw $50,000 into the budget for the upgrade. How times have changed, ironically on the watch of Labor, the ‘workers’ party’ whose forebears built and operated the very railways that brought so much economic, social and industrial development to our state.’

August, 2025
‘Audit Work Program 2025-2028′, and its effect on the Powerhouse Museum in Ultimo
Of great interest regarding the recently documented funding programs for museums, galleries and related organisations across NSW, in August, 2025, the NSW government’s Audit Office published its plans for carrying out ‘financial and performance audits of state government entities, local councils and universities.’ For the full document, READ HERE.

In his introduction, Auditor-General for New South Wales, Bola Oyetunji, writes: ‘The Auditor-General reports to the Parliament of NSW and is responsible for audits and related services. These audits aim to help Parliament hold government accountable for its use of public resources. The Audit Office conducts financial and performance audits of state government entities, local councils and universities, principally under the Government Sector Audit Act 1983 (GSA Act) and the Local Government Act 1993 (LG Act). The Auditor-General can also be requested by the Treasurer, a minister or both Houses of Parliament to perform an audit or audit-related services. Consultation is required regarding the scope before a formal request is made. Following changes to the GSA Act in 2022, our performance audits can also include non-public sector entities that have received money or other resources, (whether directly or indirectly) from or on behalf of a government entity for a state purpose….
Our audits will increasingly examine efficiency and the optimal use of public resources, particularly procurement, contract and project management, the use of consultants and contractors, employee expenditure and the effective acquittal of spending against intended deliverables. We will also continue a focus on grants administration, exploring the governance of that funding. This includes efforts by those responsible for the administration of grant funding, as well as efforts of recipients of grant funding (government and non-government). Compliant, efficient, economical and effective expenditure of public money is required to achieve the intended outcomes. The investment in major capital projects is a necessary and important part of government activity. It is also complex and high risk and can have a significant impact on the State Budget and community amenity. My audit program will look at several major projects with a lens to governance, procurement, contract management and value for money….’

The document also notes that: ‘…around 500 financial audits and around 700 other assurance audits and reviews conducted each year; and ‘…around 16–20 performance audits are conducted each year’.
In ‘Performance audits 2026–28’, with reference to the Powerhouse Museum in Ultimo, it is included that regarding ‘Creative industries, tourism, hospitality, and sport’:
– Financial management by cultural institutions:
‘The arts and culture sector plays an important role in the State’s social and economic fabric, including by attracting visitors, developing skills, creating new jobs and developing state cultural assets for future generations. This audit may examine the effectiveness of financial management by selected cultural institutions.’
– Investment in arts and culture: Powerhouse Museum Parramatta and Ultimo projects
‘The NSW Government announced plans for the $250 million redevelopment of the Powerhouse Museum Ultimo in 2023. This followed the previous decision to build a new Powerhouse Museum in Parramatta. This audit will examine the effectiveness of the planning, design and construction for the Powerhouse Museum Parramatta and Ultimo projects.’

Powerhouse Museum Alliance and Save the Powerhouse note that: With the audits taking place in 2026-27 or 2027-28, this means the final report could be tabled as late as the end of 2028 (in 3 years’ time). Then ‘The NSW Parliament’s Public Accounts Committee reviews the reports to ensure that the audited entities respond appropriately to report recommendations. The review is generally conducted 12 months after the audit report is tabled to examine whether the auditees have implemented the accepted recommendations and if any changes in practice or performance have occurred in response to the report.’ So this result could be delayed for 4 or 5 years?
With building demolition currently under way, and no clear plans for museum programs, where does this leave our 11-year campaign to keep the Powerhouse Museum – as a state museum – in Ultimo??

29 August, 2025
Extracts from: ‘PORTFOLIO COMMITTEE NO. 6 – TRANSPORT AND THE ARTS’
From the NSW PARLIAMENT: BUDGET ESTIMATES hearing on 28 August, these extracts specifically referring to the funding of state and regional museums and galleries, including the Powerhouse Museum, are drawn from the longer transcript provided online (listed as ‘uncorrected’ on 29 August).
Identified as an ‘Examination of proposed expenditure for the portfolio areas’, the Committee was chaired by Ms Cate Faehrmann, and questions in the morning were discussed with the Hon. John Graham, Special Minister of State, Minister for Transport, Minister for the Arts, and Minister for Music and the Night-time Economy. Further issues about budget funding were discussed with other representatives in the afternoon.
For the extracts READ HERE:  Transcript extracts 28 August  and  FULL DOCUMENT HERE

28 August, 2025
‘Art Gallery of NSW flags higher exhibition ticket prices amid budget crisis’
Following both the protest at AGNSW (27 August) and the Legislative Council meeting on 28 August involving state arts funding, in the Sydney Morning Herald Linda Morris writes, amongst other comments about AGNSW, regional Museums, the Powerhouse Museum, and the Australian Design Centre:
‘The Art Gallery of NSW says it may need to introduce higher exhibition ticket prices on top of 51 jobs it needs to axe as it searches for millions of dollars in extra funding to cover its running costs. Arts minister John Graham told parliament he “wouldn’t be comfortable” if the gallery reduced its opening days, while flagging for the first time he might be open to providing additional assistance to the 154-year-old institution: “I understand [reduced opening days is] not under discussion”.  Coalition assistant arts spokesperson, Jacqui Munro, said …“The government’s cuts are making the arts less accessible at a time when we need them most.”
Graham also flagged at the parliamentary estimate hearing on Thursday that job cuts to the state funding agency Create NSW could also be walked back, predicting the agency will lose a “net seven” staff members following five weeks of consultations with unions and staff.
And he denied the Powerhouse Museum was receiving preferential funding treatment from government after the Herald disclosed the government had boosted the museum’s wages budget by $10 million while the art gallery was pressured to cut its workforce. “Is the government favouring the Powerhouse and directing a lot more funds to the Powerhouse? No, that’s definitely not the case,” he said.
… Hours before budget estimates, the government announced it had at least partially restored funding to some arts organisations that had missed out on four-year funding grants in April.
Regional organisations make up half the successful organisations of the two-year funding round, with 31 regional arts and cultural organisations securing an investment of $7.5 million over two years. This includes 10 regional art galleries funded with a combined investment of $1.8 million. Thirteen organisations which previously had to apply for annual funding would now be shifted to the two-year funding rounds.
The Australian Design Centre at Darlinghurst lost $300,000 a year in the previous funding round. It was awarded $150,000 for each of the next two years. It still cannot rule out closure at the end of the year. “Create NSW advised yesterday that ADC was successful and would receive $150,000 per annum over two years. While this funding is fantastic, and we are grateful to receive it, it is $150,000 per annum, short of what we currently receive and have been receiving for a decade,” its executive director Lisa Cahill said. “This substantial reduction in funding combined with rising costs over the past decade, and the uncertainty it creates for our future, is unsustainable. It is effectively setting us up to fail, after successfully operating for 61 years.
“Potentially NSW will be the only state without a dedicated craft and design organisation. That means that the thousands of makers, designers and craftspeople we have supported will be left without a national platform, and audiences around Australia, where we currently take touring exhibitions, will not see their work. “ADC will consider its future plans for 2026 and beyond in the coming weeks.” READ HERE, and HERE: SMH 28 August

27 August, 2025
‘Lack of respect’: Art Gallery staff walk out over job losses
Discussing NSW government funding for the AGNSW and the Powerhouse Museum, among others, Linda Morris writes in the Sydney Morning Herald, that ‘Staff at the Art Gallery of NSW are set to walk out today in protest at the axing of 51 jobs, as budget figures reveal employee costs at the Powerhouse Museum are set to soar by 20 per cent at a time when the museum is mostly shut to the public. Wednesday’s stop work is the first industrial action at the gallery in 10 years or more and comes after its director Maud Page announced a 10 per cent cut to the gallery’s 300 plus workforce in a restructure designed to save it $7.5 million.’…
‘At the same time, budget papers reveal the Minns government authorised a $10 million increase to the staff budget for 2025-26 at the Powerhouse Museum on top of the record $50.2 million it spent the previous year. The Powerhouse’s projected $60.6 million wages bill, now eclipses that of other cultural institutions, including the State Library of NSW which has been allocated $39.2 million, Australian Museum ($38.1m), Museums of History ($47.7m) and even the Art Gallery of NSW ($51m).
Yet, the Powerhouse’s Ultimo campus is shuttered, its headquarters at Parramatta is not scheduled to open until later next year and its Castle Hill storehouse is open to the public on weekends. Sydney Observatory is open four days a week, six hours a day. The Herald counted more than 50 positions advertised internally in the Powerhouse staff bulletin since January. Work on the museum’s two major construction projects worth more than $1.2 billion are managed and primarily staffed by Infrastructure NSW, and construction giants, Lendlease and Richard Crookes.
“Our members are frustrated about the direction of the arts and culture portfolio across the state,” Public Service Association assistant secretary Troy Wright said. “The Museum of Applied Arts and Sciences seems to be the black hole sucking all the funding and attention.”
…’ The cuts to Create NSW amount to annual savings of about $5 million, or $20 million over the next four years, with only $4 million of that so far announced to western Sydney as part of the government’s three-year strategic plan. The Public Service Association, which represents staff at the gallery and the museum, has blamed the Powerhouse’s runaway employee costs on management’s push for consultants and external hires. Government says the extra staff funding is needed to build five major exhibitions for the Powerhouse Parramatta project. “The continued use of consultants as art advisers and curators, the lack of respect or profile for the core business of the collection and the secrecy around the purpose of Ultimo have our members at that institution on tenterhooks,” Wright said. “Meanwhile the Art Gallery is cutting 50 plus jobs – disproportionately from lower paid grades – to make up for a $12 million shortfall for which they cannot get a bailout, and Create NSW is also being sliced up, both seemingly because the MAAS project has all the funding.” ‘ READ HERE, or HERE:  SMH 27 August
AND FOR AN UPDATED VERSION, also in print on 28 August, following the AGNSW protest, and with further comment on funding for  the Powerhouse Museum:
 READ HERE, and HERE SMH 27 August updated 28

26 August, 2025
Legislative Council – Budget Estimates 2025-2026
This occasion, where ‘Ministers and senior public servants attend an annual Budget Estimates inquiry to answer questions about the expenditure, performance and effectiveness of their agencies’, is very relevant to the many issues recently raised about funding of museums and galleries, and (for Powerhouse Museum Alliance and colleagues) what is seen as the costly destruction of so much of the Powerhouse Museum in Ultimo, and clarification of its future role. A number of questions have been sent to members of Parliament for presentation to relevant hearings.
The NSW Government Legislative Assembly advises on its web page: ‘The Budget Estimates and related papers for 2025-2026 were referred by the House to the Portfolio Committees for inquiry and report on 26 June 2025. Known as the Budget Estimates resolution, the referral sets the terms of reference​ for the inquiry into Budget Estimates 2025-2026’.​​ The following dates have been set aside for hearings:
​19 August to 22 August 2025;  25 August to 29 August 2025; 1 September to 3 September 2025
For those interested in budget plans for museum and gallery funding, including the costs of ‘demolishing’ so much of the Powerhouse Museum in Ultimo, for an unclear museum purpose, it is noted that Arts Minister John Graham will be attending on 28 August, in Room 6, Macquarie Roon, at Parliament House, Sydney.
READ HERE FOR THE LISTINGS (check August 28): https://www.parliament.nsw.gov.au/committees/Pages/budget-estimates.aspx
Their web advises: About the Budget Estimates inquiry:
‘Budget Estimates is a key process for government accountability and transparency. The Budget Estimates inquiry involves detailed questioning on the decisions, actions and advice of ministers and public servants. The Budget Estimates inquiry is conducted by the Legislative Council’s eight Portfolio Committees…Budget Estimates hearings are open to the public and are webcast live on the Parliament’s website. Budget Estimates 2025-2026. It is anticipated that transcripts will be available on the mornin​g of the next business day after a hearing. Video recordings are expected to be available on the NSW Parliament’s YouT​​ube​ channel the afternoon of the next business day following the hearing.’ ​​​

READ HERE: ‘QUESTIONS FOR THE MINISTER FOR THE ARTS (CREATE NSW), ON THURSDAY 28 AUGUST, 2025’  Prepared for circulation by Dr Lindsay Sharp [founding PHM director] of the Powerhouse Museum Alliance, in consultation with colleagues, and circulated to ministers and members of the Legislative Council.  Questions for Budget Estimates

26 August, 2025
Powerhouse Museum, Ultimo: ‘Temporary footpath and lane closures as part of early works.’ ‌ ‌ ‌
Infrastructure NSW advised local residents (and others?) by email that ‘The Powerhouse Museum Ultimo Revitalisation will provide world-class exhibition spaces focused on applied arts and sciences and a major new public domain. Early works by DECC are underway and will require temporary footpath and lane closures for awning removal and forecourt demolition.’
They advised that during September 2005, ‘these closures are to ensure pedestrian and vehicle safety while the Harris Street forecourt is demolished and the awning attached to the façade of the Wran building of the Powerhouse Museum in Ultimo is removed.’
In their message they supply visual plans of the changes to be made, and the related footpath and lane closures.
Powerhouse Museum Alliance and its many supporters still ask whether serious attention has been given to the strong objections made to so much of the proposed demolition of existing buildings, including heritage concerns and doubts about the breadth of representation of the Museum’s historic and evolving collection, in the vastly reduced exhibition spaces, and tendencies towards events and entertainment, and perhaps, as described above, a ‘major new public domain’. Will that still be a museum? READ HERE: PHM Ultimo Work notification August 2025

 21 August, 2025 (in print 22/8)
‘In a first, the city’s biggest cultural institutions are run by women’
In the Sydney Morning Herald, Linda Morris records interviews where: ‘The six leaders of the state’s major galleries and museums discuss budgets, changing audiences and what they would give for 10 minutes alone with a billionaire.’
She starts: ‘The appointment of Maud Page as the Art Gallery of NSW’s first female director in 154 years marks a historic moment for the state’s six major cultural institutions. All are now headed by women: Annette Pitman leads Museums of History of NSW; Dr Caroline Butler-Bowdon, the State Library of NSW; Kim McKay, the Australian Museum; Louise Herron, the Sydney Opera House; and Lisa Havilah, the Powerhouse Museum.
Last year, their cultural institutions welcomed more than eight million visitors, commanded operational budgets of more than $600 million and employed 2200 full-time staff. They lead in the tricky aftermath of COVID, which temporarily shut their doors, reshaped public buying habits globally and played havoc with the costs of doing business. Audiences are changing, at once more informed, and increasingly sophisticated but also weaned on novelty; time poor and distracted. Their museums and galleries are under pressure to leverage technology and enhance visitor experience, without turning their halls into places of entertainment, or quasi-wedding venues.’
Summaries of interviews include ‘What is the reality of the financial climate that the state’s major galleries and museums currently find themselves in?’, and many other relevant issues for each institution.
One question to the Powerhouse Museum CEO included: ‘Lisa Havilah, you are building a cultural institution from scratch on the banks of the Parramatta River. If you build it, will the crowds come?
Lisa Havilah: One of the reasons the museum at Parramatta is designed to be so vertical is to give as much green space as is possible back to the community and wrapping around each of the exhibition spaces with public space that will lead to an open rooftop. It’s in the mix of public space, exhibition space, amenity and experience that we hope to make the museum a part of somebody’s everyday life. We are creating exhibitions that people can immerse themselves in in new ways, like working with architects, presenting the collection in new ways that engage young audiences. Because you might come to an exhibition, you might come to have dinner, you might come to just sit in the garden or you might come with your family to sit on the riverbank.
So, why do you say the traditional show-and-tell model of programming is on the way out?
Lisa Havilah: Museums need to change and move more than they used to. Exhibitions need to change. Stories need to shift and become more relevant. Historically, museum exhibitions have been very didactic, presenting one position on an object or one story. So it’s about giving space for people’s perspectives, their own histories and memories.’ READ HERE, or HERE: SMH 22 August 
  [Powerhouse Museum Alliance expresses great concern about what has been demonstrated over recent time of Havilah’s understanding of the significance of identifying background stories of a museum collection, alongside engaging contemporary interests and experiences – which is what museums are about, and what the Powerhouse Museum in Ultimo did very well! Her focus for Parramatta appears to be that of a regional museum, and she has not explained the future role of the longstanding, soon highly damaged, Ultimo site.]

18 August, 2025
‘NSW FASHION SECTOR STRATEGY 2025–2028’: effect on the Powerhouse Museum?
On 18 August NSW arts funding body, Create NSW, announced a complex strategy for support of the fashion industry in Sydney. For introduction to the strategy READ HERE, and HERE.
And drawing on the full document of the proposal, READ HERE, and HERE: nsw-fashion-sector-strategy
In his Foreword, John Graham MLC NSW Minister for the Arts, says: ‘The NSW Government is committed to working in partnership with the NSW fashion industry to strategically grow NSW as the home for Australian fashion.’  Alex Schuman CEO, Carla Zampatti; and Edwina McCann Editorial Director of VOGUE Australia & News Prestige, say: ‘We are delighted to introduce the NSW Fashion Sector Strategy; a comprehensive framework designed to support and elevate fashion in New South Wales. As the largest and one of the most dynamic of the state’s creative industries, fashion plays a pivotal role in driving economic growth, fostering innovation and supporting local communities.’
The strategy notes: ‘The NSW Fashion Sector Strategy 2025–2028 is focused on ensuring the viability and sustainability  of the industry, along with its related creative industries. It includes six strategic priority areas to develop and elevate these industries locally and internationally, recognising their significance to  the cultural fabric of the state and contribution to the NSW economy.’
This strategy is to be focussed on the Ultimo area in Sydney city, and to be advised and managed by the Fashion Industry, the University of Technology, Sydney (UTS) and the Ultimo TAFE college.
Of considerable interest is the potential financial commitment to this proposal, given recent base defunding of organisations that cross professional areas of creative practice such as the Australian Design Centre, and the defunding of base contributions to a number of regional museums and galleries – along with the anticipated great costs of unnecessarily destroying aspects of the Powerhouse Museum in Ultimo, and ‘revitalising’ it in ways that do not appear to be appropriate for the broad scope of the Museum.
And of considerable further concern, is the possibility that the proposal will target (what is left of) the Powerhouse Museum, and maybe its adjacent Harwood building which has always been a key attribute to its background work, to take over what is described in:
Strategic Priority 2: AUSTRALIAN FASHION HUB, as ACTIONS:
1. Develop a business and operational model for the establishment of the Australian Fashion Hub through a partnership with University of Technology Sydney, City of Sydney and the Australian Fashion Council.
2. Finalise a location for the Australian Fashion Hub at UTS within the Tech Central precinct, co-locating it with Powerhouse and TAFE NSW.

It is noted that Powerhouse Museum CEO is part of the ‘NSW FASHION SECTOR WORKING GROUP’. Powerhouse Museum Alliance, and its very extensive supporters of many years, know very well that the Museum represents a wide range of equally significant professional creative activities to ‘fashion’, crossing furniture, woodwork, metalwork, ceramics, glass, textiles and others, as well as science and technology including major transport and technological items. ‘Fashion’ is only part of being a Museum of Applied Arts and Sciences’, and the vastly reduced exhibition space cannot be overwhelmed by a single category.
And it is remembered that former Arts Minister, Don Harwin, advocated that the Museum would be a Lyric Theatre and Fashion centre, and when John Graham was supported at the 2023 election for agreeing to ‘save’ the Museum, it was understood that this crazy change would not take place, and that the Museum would continue its role of providing collection-based exhibitions, and incoming related exhibitions, with appropriate background information and engaging events and initiatives.
Who can we rely on now to properly represent the continuation of the Powerhouse Museum in Ultimo, as a state institution that represents all these critical aspects of its collection, and contemporary relevance.

17 August, 2025
‘Haves and Have-Nots’
In his #603 newsletter, art critic John McDonald writes: ‘The NSW government does not understand the first thing about museums or a public culture. Everything we’ve seen recently from NSW Arts Minister, John Graham, is almost diametrically opposed to best practice and mere commonsense. Mr. Graham has undermined the best-run, most effective arts bodies in NSW, and thrown money at projects which have little prospect of success but a high probability of failure. He has treated the major galleries and museums with contempt and poured tens of millions into a Powerhouse Museum “revitalisation” that is shaping up to be one of the biggest cultural disasters of all time – and not just in Australia. Is there another country that will have lavished the best part of $2 billion on an utterly fanciful project that has taken a major museum and turned it into three worthless venues that will continue to put a strain on government coffers for as long as they are allowed to continue? Already bets are being laid as to how long the Parramatta branch will be identified as a ‘museum’ or as part of the Powerhouse. Whatever the future of this costly albatross, it’s never going to be an effective exhibition venue.
It’s a basic fact that galleries and museums are expensive to run, and Australia – despite countless efforts to attract the private sector – does not possess a culture of philanthropy. This problem will not change overnight and will never be changed by depriving the institutions of government funds. The only way wealthy individuals and corporations ever want to be associated with galleries and museums is when those institutions are already conspicuously successful – viz. the National Gallery of Victoria. It seems that his other role as Minister of the Night-time Economy (which sounds like something out of The Magic Flute) has scrambled John Graham’s circuits to the point where he believes Powerhouse Ultimo should be repurposed as a venue for rave parties instead of a museum…. Pulling money from the ADC, from the regional galleries and the AGNSW will do immeasurable harm. I can hardly bear to mention the poor bloody Museum of Contemporary Art, which is living on bread and water.
When all that government money is going, holus-bolus, into something as wasteful and ridiculous as the Powerhouse ‘revitalisation’, it’s a scandal and a tragedy. Only this week I was talking to a former employee of Lisa Havilah’s regime who said getting out of the PHM felt like escaping from a dictator’s prison. Is anybody looking at working conditions and staff practices at the PHM? As everyone else is laying off staff, the PHM is hiring people with no museum experience, and handing large sums of taxpayers’ money to mates, who are called “Powerhouse associates”. The $1.52 million spent on “artists’ fees” for 2022-23 alone would have run the ADC for three years, and some regional galleries for a decade!… As this week’s massacre at the AGNSW makes clear, those who are cowed into silence are likely to be next in line for the axe.’ READ HERE: John McDonald 17 August

27 July, 2025
‘Colonial Mentality Revisited’
In his #600 newsletter, art critic John McDonald reviewed a significant exhibition of Australian Indigenous artist Emily Kame Kngwarreye at the Tate Gallery in London, and also commented on the significance of museums, across countries, and the necessary maintenance of their purpose. Comparting the V&A Museum development with that of the Powerhouse Museum, he wrote:
‘A reader recently sent me a link to a BBC radio “Essay”, A Museum in the Making, in which Gus Casely-Hayford, the director of the new V&A [Victoria and Albert Museum] East, is in conversation with our own Lisa Havilah, the Great Helmsperson who has pushed through her personal priorities for the Powerhouse Museum ‘revitalisation’ in defiance of all expert and public feedback.
Gus is well-disposed towards Lisa and wants to believe they are both engaged in the visionary project of creating a new kind of museum for the 21st century. This suits Lisa’s way of thinking, but everything Gus describes about the V&A project simply highlights the huge incongruities with the Powerhouse. For starters, the Victoria & Albert Museum is not demolishing its original, heritage-listed headquarters in Kensington, or turning it into a party venue under the guise of “revitalisation”. The project is a supplementary exercise which leaves the main venue intact. The V&A was forced to seek new storage because its existing storage facility, at nearby Blythe House, is being reclaimed by the government.
The PHM had an ideal, purpose-built storage facility in the Harwood Building, right alongside the museum in Ultimo, but the Havilah plan has seen that building emptied out and the collection carted off to Castle Hill in the far north-western suburbs. The Harwood has been handed over to a range of favoured ‘creative industry’ projects and is facing possible demolition. The V&A move was a necessity, the PHM’s, a choice.
The PHM’s Castle Hill building is similar to V&A East, or the Depot for the Museum Boijmans van Beuningen in Rotterdam, in that it is essentially a glorified storage facility. The innovative bit is that as well as making the collection more accessible to the public, this kind of building can also host projects, exhibitions and installations.
V&A East takes advantage of a “creative quarter” developed around the Queen Elizabeth Olympic Park. Its neighbours include BBC Music, Sadler’s Wells, University College London, and the College of Fashion. The area is still well within London’s city limits, being less than 30 minutes by tube from Picadilly. To reach PHM Castle Hill from Martin Place by public transport will take more than an hour, with at least one change. Its only notable neighbour seems to be Western Sydney TAFE, or perhaps the Hillsong Church.
Despite Gus and Lisa’s willingness to make cheerful comparisons between the projects, the differences are more telling than the similarities. What’s most striking about this conversation is that Gus is speaking constructively about all the synergies and possibilities involved, while Lisa’s comments are often defensive and negative. She creates imaginary oppositions between generations, between the wealthy eastern suburbs and the neglected western suburbs, suggesting that until now, cultural infrastructure in Sydney ended at “the latte line”. When I looked up this “latte line”, it’s a socioeconomic construct that describes areas that have greater or lesser access to jobs, infrastructure and housing. Oddly enough, all three PHM venues are on the right side of the line, with places such as Fairfield and Penrith on the wrong side.
It’s worth noting that this year Fairfield City Museum & gallery received a modest stipend of $150,000 in four-year recurrent funding from the NSW Ministry of Arts, while Penrith had its application knocked back. Three projects in Parramatta, by contrast, received a total of $1.23 million. As large parts of the grant announcements were kept secret, suspicion is rife that much of the money granted to individual projects will be funding the PHM by stealth, while established venues such as Penrith are now obliged to seek alternative sources of revenue.
Surely nothing could be more “latte” than Lisa’s policy of paying mates large salaries as PHM “associates”, or replacing curator-generated shows with celebrity choices, as we find with the current attraction at Castle Hill, where 28-year-old “actor and advocate”, Chloé Hayden, has been invited to choose a few of her favourite things to stick on a platform, on the scholarly basis of “I like it”.
According to Lisa Havilah, Chloé’s “unique perspective brings fresh insight to the rich stories embedded in textiles.” … As opposed to all those boring, stale perspectives brought to the subject by PHM curators who have been studying the collection for longer than insightful Chloé has been on the planet. Those dreary old curators – at least the ones who haven’t been killed off – have been relegated to the job of ‘fetch and carry’ in assisting the celebrity de jour.
Without going into further detail – partly because the BBC ‘Essay’ seems to have been taken down from its website – in the interaction between the two museum directors, Gus is ready to believe Lisa is achieving marvels because that’s what she has been telling him. In his enthusiasm to find international allies for his own way of thinking he has not looked into the background of the PHM ‘revitalisation’, not taken account of what has been lost or what the real outcomes might be, as opposed to abject fantasies such as the claims that PHM Parramatta will have 2 million visitors in its first year (not mentioned on the BBC Essay). I’m still not sure this isn’t a typo. They must have meant 200,000.
He’s also willing to accept that Lisa got a million people through Carriageworks during her celebrated reign at that venue. But this figure could only have been achieved by counting everyone who turned up for Saturday markets, Fashion Week gatherings, Sydney Contemporary and Performance Space events. These fanciful numbers didn’t prevent her leaving Carriageworks on the brink of bankruptcy.
Even though his intentions may be positive, Gus is not doing Australians any favours with his uncritical acceptance of everything put in front of him in Sydney. I’m sure he’d be startled to hear it, but the ultimate nature of his response is patronising and disinterested. He is looking at the PHM through the lens of his own projects and ideas, not showing the slightest willingness to consider the monumental, ongoing criticisms of the PHM project.’ READ HERE:  John McDonald 27 July John McDonald 27 July

August 12/13, 2025
‘Dozens of jobs to go as Art Gallery of NSW faces budget crisis ‘
In the Sydney Morning Herald, Linda Morris writes about: ‘Two years after the grand opening of its landmark new home for contemporary art, the Art Gallery of NSW is set to slash dozens of roles in a restructure aimed at saving the institution $7.5 million annually.
Her KEY POINTS are:
– ‘The Art Gallery of NSW will slash dozens of roles to save $7.5 million.
– Formal consultation with staff to take place over the next three weeks.
– Government funding fell from $72.4m in 2024-25 to $66.6m in 2025-26.
–  It follows recent cuts at Create NSW affecting one quarter of its workforce.’
‘Details of the “change management plan” were announced in briefings to the gallery’s staff by new director Maud Page on Tuesday morning and will likely affect around 50 positions across all the institution’s departments, this masthead has learnt. Page acknowledged the cuts were significant but unavoidable and were a last resort measure to ensure the financial sustainability of the gallery she led.’
Morris also notes that: ‘The cutbacks are the latest to hit the public service, and follow a restructure of the state arts funding agency, Create NSW, affecting one quarter of its workforce, with union predictions that final job losses may run deeper.’
And, as well as previously reported cuts to regional museums and galleries, and the Australian Design Centre, Morris also observes that:
‘The financial position is a salient lesson for the Powerhouse which opens its Parramatta headquarters next September. Sydney Modern, also known as Naala Badu, opened on time and on budget with some of Sydney’s wealthiest families contributing $109 million towards the project’s $344 million total cost. But new or expanded cultural institutions tend to strike financial trouble in their second or third years of operations because the cost of running them is often greatly underestimated, and, long term, government funding rarely matches the institution’s ambitions.’ READ HERE, or HERE:  SMH Aug 13 AGNSW funding
[Powerhouse Museum Alliance asks how future state government funding will fund the ‘Parramatta Powerhouse’ as well as the ‘saved’ Powerhouse Museum in Ultimo. The Museum has formerly been an audience-engaging site for significant state collections and their background stories and future influences, and cannot just be fund-raising entertainment centres.]

August 5, 2025
‘Heavier and dark’: Powerhouse Museum rebuild accused of trashing heritage significance
Commenting in the Sydney Morning Herald on some of the significant submissions made on the government web portal regarding ‘The Powerhouse Museum Ultimo Revitalisation Modification 1’ (see submissions below) Linda Morris draws our attention to:
‘The National Trust has slammed last-minute changes to the $300 million Powerhouse redevelopment at Ultimo, saying they would effectively void a key part of the museum’s heritage significance.
The City of Sydney also objected to the planned “total destruction and rebuilding” of the 1988-built Wran Building and bricking up of the museum’s light-filled galleria. It warned the new museum would open with far less creative industry space – a loss of 1000sqm, about the equivalent of an Olympic sized swimming pool compared to – and result in a “heavier and darker” experience inside.
“The resulting building must now be considered – especially for the cost that will be outlaid – a compromised work of architecture, based as it is on recreating a series of shapes, rather than being based on museum functionality and display,” the National Trust’s conservation director David Burdon said. “It is not a good heritage outcome.”
The state government appointed construction giant Richard Crookes in July to revamp the museum, which has been closed since February 2024. Staircases, internal walls and mezzanines will be stripped out within the heritage-listed Boiler House, Engine House, Power House and Turbine Hall, new commercial creative studios built along Harris Street next to a “cloister garden” on the bare forecourt, and a new entrance oriented to the Haymarket-facing Goods Line.
On late advice from builders, and contrary to commitments Town Hall said it received, Infrastructure NSW now wants to replace the steel-ribbed structure forming the museum’s specially built galleria that has long served as its entrance and display hall for the Locomotive No.1 and Boulton & Watt steam engine, priceless relics of the industrial age. This involves demolishing most of the galleria and the Wran building built next to the heritage halls for the museum’s opening in 1988….
…Infrastructure NSW says the existing steel structure was end-of-life and didn’t meet current building codes and standards. It argues the amendments are minor when considered against the overall scope and scale of the project and was of “acceptable” heritage impact….“The Powerhouse Museum Ultimo Revitalisation Modification 1 fully complies with the State Heritage Register listing on both the scale and form of the Wran and Galleria buildings,” an Infrastructure NSW spokesperson said….
But in its submission, the Trust said the redevelopment defeated the whole purpose of any heritage listing. The project could no longer be considered an example of adaptive re-use architecture, where existing buildings are repurposed to extend their lifespan. The trust intended to mark its own listing of the Wran Building and Galleria officially as “demolished”…
Jennifer Sanders, former museum deputy director and the widow of architect Lionel Glendenning, who created the structure uniting contemporary with the heritage structures at Ultimo, accused the NSW government of betraying a 2023 election commitment to save the Wran building and spare taxpayers a costly and wasteful rebuild. The public would be left with dark caverns and flights of stairs, Sanders said.’  READ HERE or HERE: SMH 5 August L Morris

2 August, 2025
‘Powerhouse Ultimo Modification’: read the submissions
After only two weeks of exhibition of the SSD Modification (State Significance Development) plans for the Powerhouse Museum in Ultimo.
Over 30 submissions were received (even though many could not enter the submission portal in time!) Strong opposition is documented from well-informed sources, and concerns include the complete demolition of the Wran Building and Galleria, issues regarding State Heritage Listing, vastly reduced exhibition space and a perceived tendency towards spaces for entertainment rather than exhibitions and events associated with the museum collection.
To read the submissions, go to the Government Portal Here, and open Submissions. [These entries also follow up from a previous round of submissions in 2024, documented on our web page on 15 October, 2024.
As Save the Powerhouse notes of the 2025 contributions: ‘Submission after submission, the public and the experts have condemned this project as wasteful, destructive, incompetent, and disrespectful of community input and heritage values. The question must be asked: HOW COULD THE NSW GOVERNMENT HAVE ALLOWED THIS TRAVESTY TO CONTINUE FOR SO LONG?
READ HERE: the submissions extracted from the Portal web page:
Andrew Grant
Barbara Hanley
Christopher Abbott Taree
Docomomo Australia
Dr Glenn Harper
Grace Cochrane AM
Jennifer Reath
Jennifer Sanders
Kylie Winkworth
Linda Newton
Lindsay Sharp
National Trust
Neville Pleffer
Pyrmont Action PYRMONT NSW
Samuel Wilkins
Save the Powerhouse
Sydney City Council
Thomas Lockley
Thomas Walder
Timothy Bidder
Ultimo Village Voice
Name Withheld Kingsgrove
Name Withheld Lilyfield
Name Withheld Muswellbrook
Name Withheld Ultimo NSW
Name Withheld Ultimo Sydney
Name Withheld Ultimo

FOLLOWING THE REPORTS BELOW, FROM LATE JUNE TO 7 JULY, (INCLUDING NEWS OF THE CONTRACT GIVEN FOR POWERHOUSE ULTIMO ‘REVITALISATION’ May/June/July) ,ON 16 JULY  THE EXHIBITION OF ‘MODIFICATION’ OF THE POWERHOUSE MUSEUM IN ULTIMO WAS ANNOUNCED WITH INVITATIONS FOR SUBMISSIONS

16 July, 2025
Notice of Exhibition – Powerhouse Ultimo Modification (SSD-67588459-Mod-1)
Project Officer for Energy, Resources and Industry, in the Department of Planning, Housing and Infrastructure, distributed a letter to those who ‘made a submission on the original development application for this project’.
The letter said: ‘Dear submitter, Infrastructure NSW has submitted a modification application for the Powerhouse Ultimo (SSD 67588459), located at 500 Harris Street, Ultimo in the City of Sydney local government area. … The modification application will be on public exhibition from Thursday 17 July 2025, until Wednesday 30 July 2025 on the NSW Planning Portal.
Details about the proposed modification, exhibition and how to make a submission are provided in the attached Exhibition Notice. READ HERE:  SSD-67588459-Mod-1 Letter to Prior Submitter   ‘ If you have any questions, please contact Tom Piovesan on (02) 9274 6158 or via email at thomas.piovesan@dpie.nsw.gov.au

16 July, 2025
WRAN HERITAGE DESTRUCTION PROJECT ON PUBLIC EXHIBITION FROM TOMORROW (17 July)
Following its 7 July report (below), Save the Powerhouse commented on the recent announcement (above), writing that:
‘The proposed modifications to the approved “Revitalisation” State Significant Development (SSD) Application will be on display on the NSW Government Portal website https://www.planningportal.nsw.gov.au/major-projects/projects/powerhouse-ultimo-modification-1-additional-demolition-and-rebuild-wran-building-removal-loading-dock-and-other-internal-and-external-changes from tomorrow THURSDAY 17 JULY.
The modification documents which were until recently on display on the portal have been removed but will undoubtedly be re-inserted tomorrow.
The main modification is the complete demolition of the Wran Building and Galleria (“THE WRAN HERITAGE”) and their replacement by a replica of a shape somewhat-similar to the original.
Other modifications include
– The cancellation of the Macarthur Street underground loading dock and
– The re-integration of the Harwood Building in the project. Previously, it had been carefully excised from the “Powerhouse Museum Ultimo Complex”.
The public exhibition will last for two weeks only, until WEDNESDAY 30 JULY 2025. As usual, submissions from “any individual or organisation” will be accepted until the closing date.
The proposed amendments to an already inappropriate, unpopular, destructive, and wasteful project must be firmly and unequivocally opposed.
Among the many reasons to reject this project, the complete demolition of the Wran Building and the Galleria stands out as ESPECIALLY UNACCEPTABLE.
These important heritage structures are destined to be replaced by APPROXIMATE REPLICAS that are substantially shorter, clad in incongruous brick walls, and concealed behind a row of souvenir shops that diminish their dignity and public presence.
This course of action directly violates established international heritage principles.
Article 6 of the International Council on Monuments and Sites (ICOMOS)’ Venice Charter (1964) clearly states:
“The conservation of a monument implies preserving a setting which is not out of scale. WHEREVER THE TRADITIONAL SETTING EXISTS, IT MUST BE KEPT. No new construction, demolition or modification which would alter the relations of mass and colour must be allowed.”
https://admin.icomos.org/wp-content/uploads/2025/03/Venice_Charter_EN.pdf
The Heritage Council of NSW and Penny Sharpe,  its Minister, gazetted the “Powerhouse Museum Complex” state heritage-listing just a year ago (Gazette of 12 July 2024 https://gazette.nsw.gov.au/gazette/2024/7/2024-7_268-gazette.pdf)
And the City of Sydney Council and its Lord Mayor, Clover Moore, supported the project “in principle” but subject to a revision of “the extent of intervention and whether this is an appropriate adaptive reuse”.
It is inconceivable that they could continue to support the entire demolition of the 1980s extensions and their replacement by a “THEME-PARK PASTICHE”.
We will prepare our formal submission and will post it as soon as possible. Meanwhile we strongly encourage the numerous people who opposed the “Revitalisation” project (or its previous versions) for a decade to prepare their own.
We understand the general “submission fatigue” after many years of being ignored by the Government, but this could be our last chance to OPPOSE and STOP the incomprehensible waste of NSW heritage and taxpayers money.
COMMON SENSE MUST PREVAIL.  NO CIVILIZED SOCIETY DESTROYS ITS HERITAGE.

7 July, 2025
‘WRAN HERITAGE DESTRUCTION WILL SOON BE ON PUBLIC EXHIBITION’
Save the Powerhouse Museum follows up its 29 June report (below), confirming that: ‘The proposed modifications to the approved State Significant Development (SSD) Application are now on display on the NSW Government Portal website HERE
The modifications include notably –
– The complete demolition of the Wran Building and Galleria (“THE WRAN HERITAGE”) and their replacement by a replica of a shape somewhat-similar to the original.
– The cancellation of the Macarthur Street underground loading dock and the re-integration of the Harwood Building to the project.’
After discussing in details, comments on ‘The Minister for Lands and Property’s excuse that “keeping the structures is not only unsafe and non-compliant, (but) it would cost the taxpayer more and give a limited warranty on the buildings”,’ they write: ‘Save cannot believe that the Heritage Council of NSW and Penny Sharpe, its Minister, who gazetted the “Powerhouse Museum Complex” state heritage-listing just a year ago in Gazette of 12 July 2024 ) or the City of Sydney Council and its Lord Mayor, Clover Moore, who supported the project “in principle” subject to a revision of “the extent of intervention and whether this is an appropriate adaptive reuse”, could support the entire demolition of the 1980s extensions and their replacement by a “theme-park pastiche”.’
‘Save queried why the Planning Portal page indicated that the SSD Modification status was “Prepare Mod Report” (one step before “Exhibition”) while, at the same time, the first of its 10 attachments is entitled “Modification Report” and the Government’s recent media release indicated that the modification would be on exhibition in the past week. We received the following “reassuring” answer that –
– All of the files currently available on the NSW planning portal will be publicly exhibited.
– As a previous submitter on the original State Significant Development, you will be notified of the formal exhibition period.
– The planning portal will be open to upload any submission you may wish to make during the exhibition period.
‘Meanwhile the extent of damage inflicted on the rest of the Arts portfolio by wasting public funds on mammoth white elephants becomes more apparent with the Australian Design Centre and regional public galleries and museums defunded.’ After referring to reports in early July by Linda Morris and Kelly Burke about state arts funding,  Save adds: ‘These vanity projects not only cost AUD billions to build but their operational costs will damage the Arts budget for decades.
We welcome the new public exhibition as an opportunity to tell the NSW Government once again how inappropriate, unpopular, destructive and wasteful its project is and encourage you to do the same when the exhibition period is announced. ‘ READ MORE HERE: Save the PHM 7 July

5 July, 2025
‘Infrastructure NSW: Modification Application for Powerhouse Ultimo Revitalisation; Revised structural and loading strategy’
After long and strong professional community opposition to the damaging proposed ‘Revitalisation’ of the Powerhouse Museum’s award-winning adaptive re-use of heritage buildings from 1988, and unclear programming for the future, this report (5 June, 2025) on ‘modifications’ has now been made available. Most of the modifications remain unacceptable to wide audiences.
To read the Modification Application for the ‘Powerhouse Ultimo Revitalisation’, submitted to Department of Planning, Housing and Infrastructure on behalf of Infrastructure NSW.
READ HERE: Modification Report 5 June 2025
Or HERE: https://www.planningportal.nsw.gov.au/major-projects/projects/modification-1-revised-structural-and-loading-strategy
Front web page reads:
SSD Modifications
Modification 1 Revised structural and loading strategy;  City of Sydney; Demolition and reconstruction Wran Building structure and external and internal amendments to other buildin
To open Report on web page, go to:
–  Attachments & Resources
–  Modification Application (10
–  Modification Report:  View
 The 35 page document starts:
Section 4.55 (2) Modification Application; Powerhouse Ultimo Revitalisation SSD-67588459Modification 1 ; 500 Harris Street, Ultimo NSW 2000Submitted to Department of Planning, Housing and Infrastructure on behalf of Infrastructure NSW

 After a Contents List, the Executive Summary notes:
‘This Modification Report has been prepared by Ethos Urban on behalf of Infrastructure NSW to accompany a Modification Application pursuant to Section 4.55(2) of the Environmental Planning and Assessment Act 1979 (EP&A Act). It seeks to modify Development Consent SSD-67588459 relating to the Powerhouse Ultimo Revitalisation (the project) at 500 Harris Street, Ultimo NSW 2000 (the site). State Significant Development (SSD) Application was approved by the Minister on 24 February 2025 for revitalisation works to the Powerhouse Ultimo precinct, including renewed exhibition spaces and new public domain. This application seeks consent for the following modifications to the development consent.

• Demolition and reconstruction of the structure of the Wran Building and Galleria.
• A revised loading strategy, including the deletion of the loading dock and a reduction to approved excavation.
• Reduction in the scope of works to the Switch House, including the relocation of amenities.
• Removal of the mezzanine levels within the creative commercial spaces.
• Removal of the rooftop bar at the Switch House and the installation of a new low-pitched metal deck roof over the classroom/academy space.
• Replacement of existing glazing with cladding on the eastern façade of the Galleria adjacent to Exhibition Space 2.
• Removal of exhibition hoists and minor internal modifications throughout.
• A number of minor modifications to the wording of approved conditions of consent.
  This Modification Application identifies the consent, describes the proposed modifications, and provides an assessment of the relevant matters contained in section 4.55(2) of the EP&A Act. It has been prepared and set out in accordance with the Department of Planning, Housing and Infrastructure (DPHI)’s State significant development guidelines – preparing a modification report (October 2022).’

26 June, 2025
‘Media Release: Contract awarded for the Powerhouse Museum Ultimo Revitalisation’
Despite very longterm disputes about the proposed destructive ‘Revitalisation’  of the Powerhouse Museum in Ultimo, ministers John Graham (Special Minister of State, Minister for Transport, Minister for Arts, Minister for Music and the Nighttime Economy), and  Steve Kamper (Minister for Lands and Property, Minister for Multiculturalism Minister for Sport, Minister for Jobs and Tourism), announced in a media release that: ‘The Minns Labor Government is taking the next step in the heritage revitalisation of the Powerhouse Museum in Ultimo, confirming Richard Crookes Constructions has been awarded the main works contract to deliver the $300 million renewal of the Ultimo site. Key features of the new design include:

• Conservation and restoration…
• New and improved exhibition spaces…
• Reorientation…
• Activation of the Harris Street façade…
• Central circulation system…
• Reimagined public domain…’

It elaborates: ‘…Following feedback, a modification to the development’s approval will be lodged with the Department of Planning, Housing and Infrastructure next week which will include allowing for the dismantling and replacement of the Wran and Galleria building’s non-compliant internal steel structures, while continuing to maintain the heritage requirements of the built form. These modifications are covered within the existing budget. Site preparation works, approved under the State Significant Development Application, continue to be carried out with main works construction expected to take up to three years. The 1899 Ultimo Tram Depot (The Harwood Building) will continue to be used for museum operations including conservation laboratories, workshops and staff offices.’ READ THE MEDIA RELEASES
HERE:   250626_MR_Contract awarded for the Powerhouse Museum Ultimo Revitalisation  and HERE: Powerhouse Museum Ultimo Revitalisation

Following the media releases, a number of significant public comments were made, concerning the accuracy of claims made regarding the proposals, and related costs. These included:

26 June, 2025
POWERHOUSE MUSEUM “REVITALISATION” CONTRACT AWARDED
Save the Powerhouse group circulated the information that: ‘The NSW Government’s announced on 26 June that Richard Crookes Construction has been awarded the main contract for the redevelopment of the Powerhouse Museum Ultimo. Read –
– The Government’s media release https://www.nsw.gov.au/…/contract-awarded-for…
– Linda Morris article in the SMH https://www.smh.com.au/…/labor-s-300-million-powerhouse.. Then, in great detail, they go through the recorded release-listed ‘features of the new design’, saying ‘The media release contains several misleading claims that demand correction.’
In conclusion they say: ‘The public deserves honesty — not spin — when it comes to cultural infrastructure. We are witnessing the systematic dismantling of a globally-respected museum under the banner of “Revitalisation.”
If you are disturbed by this announcement write to the SMH (letters@smh.com.au), to the Arts Minister (https://www.nsw.gov.au/…/minister-for-transport-arts… ) and to the Minister for Jobs and Tourism (https://www.nsw.gov.au/…/minister-for-lands-property… )’
READ HERE for their comments:  Save the PHM 26 June

26 June, 2025
‘Labor’s $300 million Powerhouse Ultimo revamp hit by last-minute hitch’
In the Sydney Morning Herald, Linda Morris wrote: ‘Much of the modern wing of the Powerhouse Ultimo is to be pulled down and rebuilt after a last-minute problem emerged with the controversial $300 million museum redevelopment. Construction giant Richard Crookes has been appointed to revamp the museum. Staircases, internal walls and mezzanines will be demolished within the heritage-listed Boiler House, Engine House, Power House and Turbine Hall, artisan studios built along Harris Street, and the building’s entrance reoriented to Haymarket and the CBD. Under plans approved only two months ago, the upper steel structure of the Wran Building and Galleria, forming the modern wing of the Sulman Medal-winning architectural adaption to the 1988 museum, was to have been retained.
But it has now been deemed not strong enough to carry the new brick structure, and the steel-ribbed structure forming its galleria is to be replaced in the same scale and form, with a lower concrete structure kept in place to lessen the impact of construction works on the heritage Switch House…
A second modification will remove an underground loading dock from the project to reduce risk to the foundations of the museum’s Switch House and save costs. Access will be retained through the neighbouring Harwood Building, which houses the museum’s offices.
The 1988 adaptive reuse of the more-than-century-old former Ultimo Power House to the Museum of Applied Arts and Science won many architectural and industry awards, including the Sir John Sulman Medal. Architect Lionel Glendenning died in May still fighting the revitalisation project he believed would gut his Wran-era heritage masterpiece.’
… Former museum trustee Kylie Winkworth said these specific exemptions were “shockingly permissive”. “The whole museum as we know it is set for demolition and erasure. If there was genuine conservation of the Wran Building and Galleria to maintain its structural integrity as the minister promised, there would be no need to replace the steel structure.”
‘Early construction works have already begun, and the government said it was on track for a construction completion date of late 2027 or early 2028.
A total of $256 million was committed to the project in this week’s NSW budget. The museum needs to raise a further $50 million in philanthropy.’
READ MORE HERE: or HERE  SMH 26 June PHM hitch

27 June, 2025
Opinion letter: Jennifer Sanders
‘The joint media release by Ministers Graham and Kamper, (Labor’s $300million Powerhouse Museum revamp hit by last minute hitch, June 27), is yet more Labor spin to disguise a wasteful, expensive, consistently unpopular project that is as far from being a ‘heritage revitalisation’ of the 145 year old Powerhouse Museum as it could be without actually razing the site.
The State Heritage Listing of the Powerhouse Museum Complex is a confected hoax. The 13 exemptions green light the demolition of all the post 1980 fabric of the Museum erasing the design and defining characteristics cited in the 1988 Sulman Award for the Powerhouse Museum. These exemptions were specified by INSW to facilitate this goal and even go so far as to demolish the original 1899 Engine Room floor.
The Heritage Assessment Reports by Robertson and Hindmarsh 2022, commissioned by Heritage NSW, by Design 5 Architects 2021, commissioned by Create NSW and by Lovell and Chen 2024, commissioned by City of Sydney, all found that the Powerhouse Museum was of exceptional significance and merited State Heritage Listing. Yet, despite strong public support for the Listing, the Heritage Council failed to protect the people’s Powerhouse Museum, as did the Minister for Heritage, as did the City of Sydney, as did Create NSW, as did the Minister for the Arts.
The fake State Heritage Listing only protects the walls of the Ultimo Power House, but not the 1899 Engine House and not the 1988 Sulman award winning Powerhouse Museum. The Museum’s mezzanines will be demolished taking out 75% of the exhibition space. The three theatres will be demolished as well as circulation, viewpoints, the boardroom – a feature in the Galleria, education zones and much more. An unbelievable waste of money and, of an acclaimed Museum only 37 years old. As we pointed out – do the long-delayed repairs and maintenance renew the exhibitions and reopen the Powerhouse Museum to the families, school groups and tourists who have flocked to experience its wonders since 1988.
… From my 30-year career at the Museum I know that the Museum’s exhibition space is 21,080m2 as stated in original PHM documents. The Ministers’ statement that the PHM’s exhibition space is only 6,850sqm is wrong.  They have, at best, been poorly advised. The Powerhouse Museum Alliance and Save the Powerhouse have corrected this ridiculous underestimation many times to no avail as the facts do not suit the fantasy that Labor’s demolition job will be a ‘museum revitalisation’. The Museum’s exhibition record stands. A world leading museum, it presented 494 exhibitions from 1988 to 2018 – in the Powerhouse Museum, across NSW, Australia and the world – and then many more until its closing blockbuster – former Trustee, Leo Schofield’s magnificent opus to the Powerhouse Museum and its collection – 1001 Remarkable Objects…. No civilised society destroys a museum yet here in NSW, Labor is destroying our Powerhouse Museum. It is not too late for Labor to actually save  the Powerhouse Museum – as promised. History and future generations will thank them for it if they do.’
READ MORE HERE:  PHM JSanders Letter SMH 27 June 2025

 28 June, 2025
John McDonald: ‘Beggars Banquet’
Great Infrastructure in the State of NSW, Or, A Call to Alms
In his regular newsletter, long-experienced art critic John Mc Donald, considers the government funding of museums and galleries. After discussing dependence on private funding in countries like the USA, and past government support across all states in Australia, he mentions that: ‘In Australia, wealthy individuals and corporations are not in the habit of parting with a dollar unless there is some immediate benefit to themselves. [PMA comments that this is evident in donations to ‘Powerhouse Parramatta’] This doesn’t mean governments won’t keep trying to force institutions to raise their own funds by continually nibbling away at grants and allocations.’
And in reviewing variations in government funding for the arts, including museums, McDonald notes another recent government announcement where: ‘Instead, we appear to be moving in the opposite direction, with NSW government cuts to the state arts agency, Create NSW, requiring the retrenchment of a quarter of its 91 staff. This works out at 22.75 employees…’
He mentions Linda Morris’s article in SMH, where she ‘…quotes NSW Arts Minister, John Graham, singing the praises of his predecessors: “The former government made some great investments in infrastructure. Our focus is now filling those great buildings – that is why our investment focuses on people – the artists and audiences – to make the most of the great infrastructure. Any money saved in the restructure will be put directly back into the sector.”
McDonald adds: ‘What Mr. Graham is not telling us is that the Treasurer is trying to rein in government expenditure and it has been decided – as usual – that the easiest things to shred are arts and culture.’…
After discussing financial issues regaeding other museums, he adds ‘One final indignity, … is the Australian Design Centre’s announcement that, in CEO, Lisa Cahill’s words: “ADC has been defunded by both state and federal governments losing a combined $500K per annum in operational funding. Pretty devastating for this 61 year old tiny organisation. It will leave NSW as the only state/territory without a government funded organisation.” ‘ [PMA adds: Originally the Crafts Council of NSW, from 1964 this was the first federal and state -funded multicrafts organisation in Australia, and continues to run a comprehensive and effective program.]
‘Australia has some of the world’s outstanding artists in the fields of ceramics, glass, textiles and other applied arts. In previous years it has been a priority for organisations such as the Australia Council to help support and develop these areas. Today it seems that Labor governments in NSW and Canberra are prepared to abandon a well-established, well-run group that has played a vital role in the local industry. As Cahill points out, every other state/territory supports a similar body, so NSW will be a trailblazer in neglect.
Does John Graham honestly expect us to believe that the ADC, in operation since 1964, is expendable, while the Powerhouse – once known as Sydney’s leading museum of art and design – should absorb about $150 million in taxpayers’ hard-earned, to pay huge salaries to mates for ‘creative’ ideas; to bankroll overseas residencies for people who don’t even live in NSW; to hold a range of Mickey Mouse competitions, such as writing stories about the Parramatta River; to get Kylie Kwong to do tours of Indian restaurants in the burbs, and on, and on? Not to mention three end-of-year parties where the Minister and staff whooped it up, at a combined cost of sightly less than $100,000?
There is no fat in the way the ADC spends its government stipends. The Save the Powerhouse group would argue there is nothing but fat, waste, extravagance, croneyism and crass populism in the way the Powerhouse – with no exhibiting spaces currently open – spends money. With this government, waste is rewarded, while responsible management is penalised. Perhaps the ADC should have sponsored more rave parties.
I would argue that culture is no less important for any society than health, welfare and education. It can’t be reduced to dollars and cents, or viewed as a commodity to be acquired on the cheap. In the United States, currently subsiding into social chaos, museums are still being funded by wealthy, Trump-voting Americans. In Australia, one of the world’s most prosperous and stable countries, the wealthiest citizens feel there’s no point in supporting cultural institutions. It’s the government’s responsibility to fund these places adequately and help foster a greater sense of philanthropy in the community.
Instead, John Graham has chosen the contrary route. Rather than promoting long-term growth, he is celebrating short-term waste. In place of strategic initiatives, he is giving us empty spin. But no amount of hyperbole can replace the millions that have been withdrawn or withheld from every organisation that is not called Powerhouse. Those institutions which should be the foundation of local cultural progress – the AGNSW, the MCA, the ADC – are being treated with contempt, when they badly need a little R-E-S-P-E-C-T.’
READ MORE HERE:  J McD Beggars Banquet

 29 June, 2025
NSW GOVERNMENT TO REPLACE THE WRAN HERITAGE WITH A THEME-PARK PASTICHE
Save the Powerhouse Museum group also circulated comments including: ‘Infrastructure NSW (INSW) has now confirmed that a modification to the approved State Significant Development Application (SSDA) will be on exhibition on the planning portal HERE  next week (starting 30 June), This will be our last opportunity to reject the ill-conceived “Powerhouse Revitalisation” project.
The modification consists chiefly of the complete demolition of the heritage-listed “Wran heritage” (Wran Building and Galleria) to be replaced by an approximate replica, with its southern part cut off and a roof with a vague resemblance to the original one. This reminds us of Willow Grove’s fate which the previous NSW Government bulldozed and planned to replicate on another location in Parramatta.
A replica of the “Wran heritage” buildings cannot be a substitute for the authentic original. To say that they are the same is to equate heritage with mimicry. The replica will be to the original Wran-era Powerhouse what the Las Vegas Eiffel Tower is to the one in Paris — a hollow reproduction, stripped of cultural context and historical integrity. This approach to heritage — one that favours symbolic gestures over preservation — undermines public trust in cultural stewardship. It treats history as stage décor, not as something to be conserved and respected. The public deserves better than a theme-park pastiche masquerading as heritage.
Experts have warned us for a long time that white elephants like the Sydney Modern or the “Powerhouse” destructive project not only cost the taxpayers billions to build but that their inflated running costs would strain the NSW arts budget for decades to come. This can be seen in the recently-announced NSW budget.’  READ MORE HERE:  Save the PHM 

May/June/July 2025
ASSOCIATED WITH CONCERNS ABOUT THE FUTURE OF THE POWERHOUSE MUSEUM, RECENT NSW GOVERNMENT ANNOUNCEMENTS OF REDUCED ARTS FUNDING FOR MANY STATE MUSEUMS, GALLERIES AND ORGANISATIONS, RAISE QUESTIONS OF WHERE THAT LOST MONEY IS TO BE SPENT?

 21 May 2025
‘Strengthening the arts and cultural sector’s core:  Around $17 million annual investment in creative communities across NSW’
On 21 May the ‘Department of Creative Industries, Tourism, Hospitality and Sport, Create NSW’, released an announcement about its next multi-year arts and cultural funding.
They wrote: ‘Create NSW is strengthening the backbone of the NSW creative ecosystem, with a major multi-year injection through the state’s flagship Arts and Cultural Funding Program. More than 80 arts and cultural organisations across NSW will share in close to $17 million per annum through 4-Year Multi-year funding, representing a significant investment in the sustainable growth of the state’s arts and cultural sector. Organisations that collectively employ thousands of artists and cultural workers spanning many artforms and engaging diverse audiences will be supported through until the end of 2028 to strengthen skills, develop strong collaborative partnerships and deliver vibrant arts and cultural experiences for NSW.
Highlights from the 4-Year Multi-year Funding investment include:
– A total of 82 organisations funded until 2028, with the investment shared across diverse artforms – from First Nations arts and culture to classical music/choral/opera, community arts and cultural development, dance, digital/experimental/immersive/light art, festivals, literature, multi arts, museums and history, theatre, and visual arts
–  Strong support for regional NSW with $7.15 million shared by 36 successful regional organisations
– Six First Nations arts and cultural organisations, including four organisations receiving multi-year funding for the first time, quadrupling the investment to a total of $1.165 million
– A dramatic increase for arts and cultural festivals, with over $1.9 million committed in 2026 and beyond
– In Western Sydney, 16 organisations have been backed with increased funding, with over $3.9 million invested’ READ HERE.  and HERE: nsw.gov.au-Strengthening the arts and cultural sectors core Around 17 million annual investment in creative comm (3)

 HOWEVER, MANY ISSUES HAVE BEEN BROUGHT TO ATTENTION REGARDING SERIOUS LOSS OF FUNDS TO SIGNIFICANT ORGANISATIONS.
SEE REPORTS BELOW: 19 June to 7 July

 7 July, 2025
‘We got nothing’: Axe falls on galleries and the state’s only design centre
Linda Morris reports in the Sydney Morning Herald, that: ‘There was more than a hint of desperation in the end-of-financial-year public appeal of Darlinghurst’s Australian Design Centre.
Asking the centre’s 30,000 social media subscribers to donate $100 each, executive director Lisa Cahill said it was do or die for the organisation that has nurtured the skills of thousands of artisans and designers, many of them women, since 1964.
In January, ADC lost $200,000 in federal funding, and on Easter Thursday this year it received an email from NSW arts agency Create NSW with the devastating news it had also missed out on four-year state operational funding despite being recommended by peer assessors.
A Create NSW spokesperson said the next new two-year funding program was at the assessment stage. The full funding profile of support for regional galleries would be available following that. “The NSW government recognises the significant contributions made by regional art galleries to the arts and culture ecology across regional NSW,” they said.
… From 2026, NSW’s only government-supported centre dedicated to craft and design practice, from jewellery and glassmaking to ceramics and weaving, will no longer have the $500,000 in base-level funding needed to pay staff and keep its lights on…
Among the 76 applicants knocked back for four-year funding were more than a dozen regional public galleries, whose activities are partially funded by Create NSW’s Arts and Cultural Funding Program.
Other successful arts organisations said they received significantly less than they had asked for and at a level that compromised the delivery of events and programs. Announcements for the next two-year funding round are due in September, but competition is expected to be stiffer as unsuccessful candidates are bounced into this last-resort funding round.
The funding squeeze comes after it was revealed the workforce of the agency delivering the grants, Create NSW, is to be cut back by a quarter. The Minns government has promised to reinvest million-dollar savings into frontline arts and culture programs. Arts Minister John Graham is also pursuing tax changes to help resuscitate the flagging sector.
But there is growing unease in the arts sector that short-term government investment decisions are being made, such as spending on one-off festivals that don’t have ongoing effects for the rest of the year. This four-year funding round included a dramatic increase for arts and cultural festivals, with more than $1.9 million committed in 2026 and beyond. Four new First Nations organisations were successful, and three regional galleries: Murray Art Museum Albury, Ngununggula/Southern Highlands Regional Gallery and Lismore Regional Gallery.
Brett Adlington, chief executive of Museums and Galleries NSW, said the latest funding round equated to a $1.2 million drop in funding to public galleries.
“The small to medium public gallery sector is often the lifeblood of regional communities, providing not just quality exhibition programs but also a whole range of initiatives bringing connection to diverse communities,” he said. READ MORE HERE, or HERE: SMH 7 July

6 July, 2025
‘Secret Sharers’
John McDonald writes in his regular newsletter, ‘Until Creative Australia did a triple backflip with nosedive, and reinstated Khaled Sabsabi as our representative at the next Venice Biennale, the biggest story of the week concerned the savage cuts the NSW government has inflicted on regional galleries.’
Drawing on published details, he notes: ‘The galleries that have had their applications for four-year funding knocked back include Armidale, Broken Hill, Maitland, Orange, Tamworth and Wagga Wagga, along with suburban venues such as Mosman and Penrith. Coming on top of the defunding of the Australian Design Centre, which has lost $200,000 from the NSW government, and $300,000 from its federal counterpart, we are looking at a bloodbath of historic proportions.
What exactly have these well-established galleries done to be punished in this way? I’ve written up enterprising shows in Broken Hill and Orange over the past six months, and have appreciated the go-ahead efforts made in Maitland, the fastest-growing municipality in the state.
It appears, as with the trashing of the ADC, Arts Minister, John Graham is intent on penalising venues that do everything right, while lavishing millions on… you guessed it, the Powerhouse – a project so wasteful, fanciful, dysfunctional and secretive that no respectable economic rationalist (if that’s not a contradiction-in-terms), would give it a pass mark.
The thinking seems to be that well-run galleries can do without funds that may instead be passed on to a range of pet projects or diverted to government expenses deemed more important. This assumes the galleries can simply go to their respective councils to make up the shortfall or tap wealthy patrons who live in the district. Nothing could be more idiotic. Every regional gallery director will tell you it’s a perpetual battle to extract a dollar from councils. With even the most sympathetic local administration the smallest political shift can mean instant famine for the arts.
Local patrons, especially in places such as the Tweed and Orange, are more than generous, but there are limits to private largesse when donors also need to allow for their families, and for the ups and downs of wealth and income.
As for the benefits of regional galleries, they are not merely tourist attractions that bring in much needed revenue to a local economy, they are centres of social cohesion in which residents, old and young, can gather for public events, art and crafts classes, lectures, film screenings, and a range of other activities. They are places where people begin to appreciate their own cultural achievements and heritage. For young people a regional gallery is usually the first place they get to view art on the wall, as it was for me with Newcastle Art Gallery, which I visited regularly during my school days.
By withdrawing funds from leading galleries, the government has created a climate of instability that makes everyone less willing to try new projects, acquire works, host residencies and workshops, or a hundred other things that constitute the regular business of these institutions. The galleries may not be forced to close but they will be reduced to simply putting a bunch of works on display and leaving them there for an extended period. The energy and initiative of an active cultural hub will give way to the inertia of a trophy cabinet.
Having stated the problem, we need to ask:
Why did the government do this? Where did the money go? Who made these decisions? What are they trying to hide?
The simple answer to the first question is: cost-cutting. Every major construction project in NSW seems to run massively over budget. The bill for the Sydney Metro, for instance, surged from 16.8 billion to $21 billion. When the government needs to find the necessary cash they look first to ‘soft’ areas such as the Arts, which most politicians consider to be expendable, barely more than a luxury.
Matters get more complicated when we seek to identify those entities that did receive funding. We might have to accept the view of Brett Adlington, the CEO of Museums & Galleries of NSW (MGNSW), who suspects the normal business of galleries wasn’t “sexy” enough for the shadowy mandarins who decided where the money should be spent. Adlington pointed out to Arts Hub that the success rate for regional galleries applying for four-year funding was 18%, well below the overall rate of 52%. He estimates that 20 galleries would have applied for this funding, with only six of them – three based in Sydney – being successful.’…’ When we try to discover more details about where the money went, we quickly hit a brick wall. Those organisations that received four-year funding are listed, but it’s interesting to see that three separate grants have gone to the City of Parramatta, totalling $1.23 million. Would this have anything to do with propping up that monumental folly-in-a-floodplain, Powerhouse Parramatta?’
… When we come to the other grants, with ‘Creative Nations’ a total of $982,477 has been earmarked for Indigenous projects. But 10 out of 20 recipients are listed as “individual – de-identified for privacy reasons.”
With the ‘Cultural Access Priority Area’ program, $2,636,850 was handed out, with 23 of 59 recipients being listed as “private”.
With the ‘Next Steps’ program, for “individual artists, arts and cultural workers”, 41 applicants received a total of $333,042. All of them have been kept “private”.
Ditto with the Creative Steps programs, for “new work by individual artists and cultural workers”, which awarded $2,982,769 to 73 lucky recipients. All names are kept “private”
… My uncharitable suspicion is that a lot of money has been channelled into projects that would end up on page one of The Australian were they disclosed. Rather than wear this kind of heat, John Graham and his department have simply decided to keep everything “private”.
My second uncharitable suspicion is that this cloak of secrecy represents yet another way of steering funds into Powerhouse-related projects, at the expense of everyone else. The convention is that state cultural institutions are not eligible for grant money, but when so many projects remain unidentified, can it be guaranteed that a number of them won’t end up in some Powerhouse-related event? It’s a grey area, and this government has shown a distinct taste for shades of grey where cultural spending is concerned.
… The paradox of John Graham’s funding priorities – if we leave aside the mystical logic of rewarding failure and punishing success – is that the NSW government does not favour a hard-line model whereby art institutions must raise the bulk of their funds from private sector. OK, they’d be delighted if it came to pass, but that’s not what they’re working towards. A commonsense approach would see the established galleries given their bedrock funding, leaving the remainder to be divided up among the best of the smaller projects. Instead, NSW appears to have adopted a radical welfare model for arts funding. Or is it a Robin Hood model? Can it be that the Minister is robbing the supposedly rich galleries to give money to marginal, identity-based projects that have little hope of attracting private funding, or an audience? Could he be undermining established arts organisations and throwing moolah at untried, untested individuals? Is he motivated by ideology or Christian charity? How would we know? It’s all under wraps. When you provide so little information everybody suspects the worst but nothing can be proved.
The result is that the same amount of money gets spent, but rather than giving it to professional organisations that are working to grow audiences and sponsors, the cash is disappearing into a mass of private pockets which promise little by way of return. It’s like rejecting a fertile paddock and sowing seed in the desert. It won’t make the desert bloom, but it will retard the growth of the fertile areas. If there’s a master plan here, it’s far too subtle for my imaginings. READ MORE HERE:  John McDonald 6 July

5 July, 2025
‘The bold plan to use tax reform to boost Australia’s struggling culture sector’
Amid the many recent debates about costs of new and altered buildings for state museums and galleries, and the NSW arts minister’s proposed plan for a cultural arts tax summit in September 2025, Linda Morris reports in the Sydney Morning Herald that:
‘Australia’s struggling culture sector could be handed much-needed extra funding under plans to use a radical shakeup of the nation’s tax system to alleviate the burden of rising costs, rapidly shifting audience trends and waning philanthropic support. Exempting prize money from GST, giving wealthy benefactors added incentives to donate, taxing vacant commercial spaces and allowing arts workers to claim new expenses are options being considered by the NSW government as part of the bid to convince its federal counterparts of the need for urgent reform.
Arts Minister John Graham will on Saturday call a cultural arts tax summit at the Sydney Opera House for September 26, with any changes potentially applying to galleries, libraries and museums; performing arts such as theatre, dance and comedy; music; screen and digital games; visual arts and crafts; literature and writing; and the design, architecture and fashion industries….
The gathering will take place just weeks after federal Treasurer Jim Chalmers hosts a productivity roundtable that will hear suggestions for tax reform from business, unions and independent bodies including the Reserve Bank. “It is time to talk tax,” Graham said. “Two of the biggest levers governments have to support the arts and creative sectors are regulatory change and funding. If tax boffins and creatives can agree on something, then our nation should take notice.”
The rethink on tax is an acknowledgment that government grants alone cannot help the sector tackle growing costs, changing audience demands, evolving media markets and shifts in the geopolitical landscape – including tariffs.
With limited tax levers – mainly on property taxes, which could help unlock vacant spaces – NSW requires help from the federal government and other states for reform. The matter was raised at a meeting of cultural ministers last month and well received. Tax reform is expected to be on the agenda of federal Arts Minister Tony Burke when he revisits his five-year cultural policy, Revive, next year. NSW Treasurer Daniel Mookhey will attend, along with 150 donors, venue operators, patrons, partners and tax and economic experts. “The sector is telling us that tax policy settings are a significant impediment to artists’ business viability, international competitiveness and income stability,” Mookhey said.…
After extensive extra information, Morris notes that: All interested parties are urged to have their say ahead of the September summit. READ MORE HERE, OR HERE: SMH State Funding 5 July

1 July, 2025
‘Shock to creative ecology’: NSW regional art galleries face funding crisis after state pulls financial support
In the Guardian, Kelly Burke reports serious concerns about recent decisions about state funding of the arts, especially in regional areas and state bodies such as the Australian Design Centre, the first multi-crafts state organisation in Australia, and a restructure of the funding body Create NSW.
‘Peak arts bodies urge review of decision that jeopardises institutions which are the  ‘lifeblood’ of regional Australian cultural life. Three out of four regional public art galleries in New South Wales are facing a funding crisis after the state government pulled its financial support as a result of a massive restructure of its cultural funding arm, Create NSW.
Wagga Wagga, Orange, Armidale, Broken Hill and Tamworth are among 18 regional centres in NSW with major public art galleries that will no longer receive four-year funding from the state government, worth between about $70,000 and $200,000 a year.
The decision has prompted two of the state’s peak arts bodies to call on the government to conduct an urgent review, warning in a letter to NSW arts minister John Graham in June that the defunding would “devastate our region’s creative life” and significantly weaken cultural tourism, which sees about 3.5 million people visiting regional galleries and museums each year.
“Put simply, it is a shock to the creative ecology that we have worked so hard to establish together,” the letter said. … Co-signee of the letter, Regional Arts NSW chief executive Dr Tracy Callinan, told Guardian Australia there was a real risk some galleries could close their doors if local councils are unable to pick up the funding shortfalls. “I’ve already been on the phone this morning with at least one, and possibly another, that if they’re not … funded, they may have to fold,” she said.
“It seems this minister is very busy looking after the 24-hour economy … there’s $100m in this budget just trying to find a venue for a new film studio, but in the process, he has abandoned the small and medium arts sector.
Co-signee Brett Adlington, chief executive of Museums & Galleries of NSW, said the success rate for regionally based public galleries applying for recurrent funding had now sunk below 18%, well below the overall success rate of 52%. Only three public galleries in regional NSW were successful in the latest funding round.
He said many in the arts sector saw the decision as a way of shifting costs on to local government. Many of the 18 galleries affected by the cuts rely on local councils to fund infrastructure and core staffing costs. However, the galleries rely on state government funding to deliver what Adlington described as the “lifeblood” of regional cultural life, delivering programs to audiences, and providing employment and commissions to artists and arts workers that are locally relevant, including myriad Indigenous cultural projects. Adlington said regional gallery directors had been advised to lodge fresh applications for two-year funding, scheduled for determination in September.
“But what we’re hearing is that’s probably going to be just as tight, if not tighter, than the last round,” he said. Guardian Australia has sought a response from the minister and Create NSW.
The director of the Maitland Regional Art Gallery, Gerry Bobsien, said the state government’s rejection of its application for $110k a year for the next four years had been “devastating”.
“It’s something that I can’t keep going back to council for,” she said.
“Funding for these cultural programs, particularly in regional areas, is so critical, and the defunding of it appears to be very widespread, spread throughout regional NSW.”
Bobsien has already lodged a last-ditch application for two-year funding. “[We] are sweating on this outcome due in September,” she said. “This process to turn around and reapply for two-year funding was very difficult as the feedback we received on our multi-year application [has] made it difficult to try and address any shortcomings – we were informed our application was strong, with no suggestions for improvement.”
Dr Lee-Anne Hall, director of the Wagga Wagga Art Gallery and the National Art Glass Gallery, said her institutions were now facing a shortfall of about $95,000 per annum, after being informed in June of their unsuccessful grant applications. “We will not be closing our doors, we are here in the service of the public,” she said. “However, here in the Riverina, there will be impacts across the board in terms of equity and access for artists, students and community.”
Art galleries in urban centres have also been affected by funding cuts. Mosman Art Gallery and Penrith Regional Gallery are among those rejected for four-year funding, and the future of Darlinghurst’s Australian Design Centre, which had been reliant on $200,000 in recurrent state government funding, is now uncertain. In January, it also lost $300,000 in federal government funding.’
“If we’re not funded, NSW will have the distinction of being the only state in Australia without a craft and design organisation,” said the centre’s director, Lisa Cahill, referring to Craft Victoria, South Australia’s Jam Factory, Craft + Design Canberra, Brisbane’s Artisan, and Design Tasmania.
The centre has now issued a public appeal to keep its doors open. The board would make a decision on its future towards the end of the year, Cahill said.
A spokesperson for Create NSW said the funding decision was unrelated to its recently announced restructure. The multi-year funding program had been highly competitive and received 158 eligible applications, the spokesperson said in a statement provided to the Guardian.
Only nine visual arts organisations were successful in their funding applications, with three of those being regional galleries – Albury’s Murray Art Museum, the Ngununggula regional art gallery in the Southern Highlands, and Lismore Regional Gallery. In total 82 applications were approved for four-year funding across all art forms. “Investment in successful organisations was higher than in previous years,” the spokesperson said. “The NSW government recognise[s] the significant contributions made by regional art galleries to the arts and culture ecology across regional NSW.” READ MORE HERE, or HERE:  Guardian 1 July 2025

1 July, 2025
‘Regional galleries ‘not sexy enough’ for funding’
Disproportionate funding discriminates against regional access to the arts in NSW.
Gina Fairley writes in ArtsHub, that ‘A strong sector response has followed the announcement of the latest four-year multi-year funding round by Create NSW (21 May), which is only now starting to unravel in terms of its long-tail impact.
ArtsHub speaks with Brett Adlington, CEO of Museums & Galleries of NSW (MGNSW), who expresses concerns for the future of regional access to cultural programming.
“The announcement has resulted in a dramatic reduction in the number of regional galleries supported, with just three galleries in regional NSW being supported, and three Regional Arts Development Organisations (RADOs) being unsuccessful,” says Adlington.
Unsuccessful organisations are now forced to apply for two-year multi-year funding, making that a more competitive round with the cuts to four-year funding support.
“The success rate for regionally-based public galleries appears to be below 18%, well below the overall success rate of 52%,” Adlington tells ArtsHub. “We have serious concerns about the viability of the sector. “The thing that a lot of organisations are finding disappointing is that the sort of work they’ve been doing for so many years – really addressing a lot of state government priorities in their programming and planning – just seems to not be recognised,” Adlington adds.
The problem is not just about money
In a joint letter to NSW Minister for the Arts John Graham, Adlington and co-writer Dr Tracey Callinan OAM (CEO Regional Arts NSW) stated that they, “feel that the new funding model has inadvertently added greater uncertainty”.
They believe the reduced success rate reflects a misunderstanding of the role played by regionally-based public galleries and community support organisations such as the RADOs.
“Perhaps it comes to a lack of depth of understanding of the sort of the realities of running an organisation in regional New South Wales,” says Adlington. “A lot of public galleries in regional areas are often run by local government, so there are certainly obligations in the broader council context that they have to be addressing, as opposed to metropolitan and non-local government organisations, which can focus on less restricted kinds of programming.
“And, sometimes, that broad nature of programming looks a bit less, sort of, sexy, I guess,” he adds. “Many regional galleries and museums are almost operating like mini service organisations in their communities. It is a lot deeper than just putting a program together.”
And yet, audiences to regional galleries and museums across regional NSW total 3.5 million visitors per annum.
Disproportionate funding discriminates against regional access
The programs and short-lived festivals that have so far been disproportionately funded by Create NSW in the latest four-year multi-year round are many hours away and inaccessible to many, explains Adlington and Callinan. “There is no feasible public transport route and certainly no way that children, young people, schools, the elderly or those on lower incomes will have access to those projects.” Adlington continues, “It should also be noted that local government is rarely in a position to pick up a loss of funding, so there will be a gradual diminishing of cultural provision across the state with this reduction in available funding. Indeed, many in our sector are seeing this as another example of cost-shifting on to local government.”
These projects have been funded over the broader reach of RADOs. “A lot of it’s invisible work,” explains Adlington. “We saw recently the work that Arts Mid North Coast did in supporting the impacts of the flooding and communities. Who’s going to be doing that work if there is no RADO in that area?
“And the other concern is that, if local governments and regional galleries are facing big financial cuts in their programs, they’ll be looking across their budgets and questioning, ‘do we continue funding into our local RADO?’ We may see councils start pulling out of their contribution to their RADO in order to fund the organisations that they operate – that is the galleries, museums and other cultural facilities.” Read: Questions raised over ‘Simpler. Fairer. Faster.’ arts funding model
Adlington describes it as “a dangerous situation”, adding that the goodwill in these communities can only be called upon for so long and relationships may start to erode.
Adlington estimates about 20 public galleries would have applied for four-year funding, with only six funded – three of which are based in Sydney. He adds that the funding cuts also jeopardise career pathways, and will weaken cultural tourism, which has been a slow and strategic build over many years across regional NSW. He concludes to ArtsHub: “They’re not asking for a lot, and it just feels like a little bit of a slap in the face – that you’re just not good enough.”
READ MORE HERE, or HERE:  Arts Hub 1 July

25 June, 2025
‘A real shock’: Alarm as NSW arts agency slashed by 25 per cent
In the Sydney Morning Herald, Linda Morris reports: ‘The state’s arts agency is facing the loss of one quarter of its workforce under a major restructure that signals the end to a decade-long government-led building boom of new museums, galleries and theatres in NSW and a renewed focus on audiences. The cutbacks to Create NSW were announced to staff on Monday with the Minns government promising to reinvest million-dollar savings into new frontline programs to fill auditoriums and halls already built.
The axe is to fall on 25 per cent of the agency’s 91 staff, affecting managers and executive directors of the agency’s infrastructure division responsible for planning and delivering major projects under the previous Coalition government including the Walsh Bay Arts Precinct, Sydney Opera House Concert Hall and Sydney Modern. The agency’s executive is expected to be cut by at least two-thirds, under a spill of positions.
The NSW Coalition, the Greens, and the peak body representing visual artists have criticised the cutbacks, and its impact on the delivery of grants sustaining the sector. But Arts Minister John Graham said the arts and culture sector was grappling with “extraordinary pressures post COVID” and “enormously increased costs, pressures from shifting audience trends and changing media market”. “We’re refocusing Create NSW. It will be focused on supporting the people in the arts, culture and creative industries – the people creating great work and working with the sector to develop new audiences,” he said in a statement.
“The former government made some great investments in infrastructure. Our focus is now filling those great buildings – that is why our investment focuses on people – the artists and audiences – to make the most of the great infrastructure. Any money saved in the restructure will be put directly back into the sector.”
Penelope Benton, executive director of the National Association of Visual Arts, said the restructure, and the departure of many experienced staff – which she believed included a significant reduction in First Nations-identified roles – had come as a “real shock”.
“These roles have been central to delivering on policy commitments, building trust, and ensuring meaningful support for artists and organisations across NSW. There is particular concern about the future of the Arts and Cultural Funding Program, and how it will be supported within the new structure. At this stage, it is unclear where responsibility for arts funding will sit, and whether there will be sufficient staff or expertise to deliver it effectively.
….
Overall budgeted spending on arts and culture will rise to $1.37 billion in the next financial year inclusive of the first tranche of a $100 million investment in Sydney’s second film studio, Labor said. The biggest item in the NSW arts budget is delivery of $915 million Parramatta Powerhouse in 2026 and $256 million over the next four years for the Ultimo Powerhouse redevelopment. Powerhouse’s total expenses are predicted to soar 54 per cent to $190 million ahead of its Parramatta opening including $10 million more for staff. Department appropriations to cover Art Gallery of NSW’s expenses went backwards after last year’s one-off $12 million emergency grant, as did the Australian Museum’s.
Labor also committed to spend $380 million on the screen and digital games sector, $3 million to Australian Museum’s First Nations’ gallery, and $14 million towards upgrades of the Museums of History. The downsizing of Create NSW comes a year after the government launched its ten-year Creative Communities arts and culture policy to better support and fund artists and creatives.
Greens MP Cate Faehrmann said the lack of transparency around the Create NSW cutbacks was concerning. “Creativity and the arts are a public good and provide enormous benefits to society. It’s vital that big decisions that impact funding for the arts, and hence people’s jobs and livelihoods, are undertaken in consultation with those impacted. This government isn’t doing that. That’s a sure way for the public to lose faith in the arts minister. “The arts community needs a minister who champions the whole sector, not one who makes cuts to almost everything for the benefit of a few pet projects.” ‘ READ HERE: or HERE:  SMH 25 June Cuts

24 June, 2025
‘Belly punch to craft sector lacks respect: ADC in potential freefall’
Writing in ArtsHub, Gina Fairley provides a serious example of the implications of cancelling funding to long-term active and well-regarded state organisations with national significance.
Referring to recent decisions by both Create NSW and the federal funding body, Creative Australia, (formerly the Australia Council for the Arts). Referring to the Australian Design Centre (ADC) formerly Crafts Council of NSW, and the first state multi-crafts organisation to be formed in 1964, she writes:
‘The CEO of the 61-year-old craft peak body speaks out about being stripped of federal and state operational funding. Late last week (Thursday 19 June), the Australian Design Centre (ADC) broke the news that both Federal and State governments, through Creative Australia and Create NSW, had chosen not to support the 61-year-old organisation with four-year operational funding.
Lisa Cahill, CEO and Artistic Director ADC, tells ArtsHub: “This means that from 2026 ADC will no longer have the $500,000 in base level funding needed to support annual operations.”
That $500,000 has been flat lined for the past decade, and while Creative Australia (CA) funding is indexed, Create NSW funding is not, adding to the pressure with rising costs of staffing, services and general expenses. When asked the difficult question whether this cut could mean the closure of ADC, she replies: “It’s very real. Essentially, the doors could close with the year’s end. Operating under incredible pressure to perform with inadequate resources, an organisation can only push well above its weight for so long,” adds Cahill.
Fairley continues with detailed comments on the questions:How real is the possibility of closure?

• Outcome illustrates flaws in funding system
• How a village can save an organisation
• What about process burnout?
• How to lend your muscle

‘Cahill assures ArtsHub that its 2025 programming – including two exhibitions that are currently touring nationally – will be delivered. She adds: “We’re not cutting anything out of this year’s program,” including staff. The CEO says that Sydney Craft Week Festival (10-19 October) – a flagship event of ADC – will go ahead as planned in 2025, pending funding support from the City of Sydney Council, which meets next Monday (30 June). Cahill says that she feels optimistic for a positive outcome, adding that ADC enjoys a good relationship with the city, which provides the organisation’s premises rent free.
The ADC, however, is programmed out to the end of 2026. “Unless our fortunes change between now and the end of November, we really won’t be able to deliver next year,” says Cahill. The ADC is not alone in missing out on the recently announced four-year funding round by Create NSW. Indeed, Museum and Galleries of NSW (MGNSW) and the Regional Arts Development Offices (RDOs) have also expressed concern to ArtsHub over the lack of stable funding delivered, putting immense pressure on the sector.
Cahill explains: “From my research, in the four-year funding from Creative Australia, not one visual arts organisation in New South Wales was funded. And now with us being not funded, we are the only state and territory in Australia that does not have a government funded craft and design organisation.”
For more details about each issue listed, and suggestions for how ‘You can voice your concerns about the impact of these government funding decisions’. READ MORE HERE, or HERE  ArtsHub Gina Fairley

19 June 2025
‘Australian Design Centre: Important Announcement’
Following advice from both Create NSW and Creative Australia, the long-established and very active Australian Design Centre circulated shocking news, writing:
‘Australian Design Centre (ADC) is an integral part of the arts ecology in Australia. This small, dynamic, independent organisation has nurtured and supported thousands of artists since 1964, presenting their work locally, nationally and internationally across extensive exhibition, touring, retail, publishing and digital platforms. Today we announce the difficult news that both Federal and State governments, through Creative Australia and Create NSW, have chosen not to support Australian Design Centre with four year operational funding. This means that from 2026 ADC will no longer have the $500,000 in base level funding needed to support annual operations.
Despite ADC being recommended by peers for funding, decisions by government quoting a lack of available funds and other priorities, means that NSW will be the only state/territory in Australia without a government funded organisation dedicated to craft and design practice.
ADC continues to be a highly successful organisation in the arts ecology despite reduced government budget commitments to the arts over the past decade and these disappointing recent decisions by government to favour different activities. We respect the funding process, and celebrate the many successful applicants, but we find the decision to remove this base level of operational funding from ADC after decades of investment, difficult to understand.
As an independent organisation we have operated on a tenuous financial footing for too long. Operating under incredible pressure to perform with inadequate resources, an organisation can only push well above its weight for so long. ADC has been remarkable in this regard for decades, and most recently since 2016 under the leadership of Executive Director Lisa Cahill (CEO and Artistic Director). Lisa and the ADC team have forged strong and pivotal partnerships and connected thousands of artists with audiences and market development opportunities across multiple platforms.
While government core operational funding has declined in real terms since 2015, ADC has successfully secured more than $5 million in project grants, philanthropy and earned income underpinning this extensive activity and contribution to Australian cultural life.
While ADC continues to deliver an ambitious program in 2025, the volunteer board and the team are imagining the future for 2026 and beyond.
Without core operational funding it is difficult to see how ADC can continue in its current form.
We are continuing to apply for all funding opportunities available to ADC, but we will need help from the community.
We know there are passionate, committed and connected people in the community who love what we do and want to see these key programs continue:

• the national exhibition touring program ADC On Tour;
• the Sydney exhibition program with 18 exhibition produced annually;
• the recently announced MAKE Award: Biennial Prize for Innovation in Australian Craft and Design;
• the Sydney Craft Week Festival now in its ninth year: and
• Object Shop (presenting work by more than 150 artists).
  The document continued with further information, and suggestions for seeking financial and political support. READ HERE: and HERE.  ADC news 19 June 2025

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16 June, 2025
‘Calls for spending audit as Powerhouse Museum discloses true costs of private VIP dinner’
In the Sydney Morning Herald, Linda Morris draws on freedom of information laws to report that: ‘ The Powerhouse Museum has been accused of “largesse” after internal documents revealed the cost of last year’s annual VIP dinner was significantly more than its reported price tag, amounting to more than $510 a guest. Invoices obtained by the Herald under freedom of information laws show the museum paid a caterer and wine supplier more than $20,000 to stage its end-of-year trustee event at which Skull Island prawn salad, roast crown of chicken and a “folly of 10 different themes of pavlovas” were served to 36 guests. This exceeded the $11,000 that Powerhouse chief executive Lisa Havilah assured state parliament on March 13 was the “correct” cost of the private annual dinner. The December 3 dinner was the first of three end-of-year functions the museum staged back-to-back in 2024, necessitating the installation of a temporary commercial kitchen at its Ultimo workshops.’
However, this expenditure drew criticism. Morris reports: ‘But the level of spending from the museum’s self-generated revenue has sparked calls by Troy Wright, assistant general secretary of the Public Service Association of NSW, for an audit of Powerhouse expenses. “No other cultural institution in NSW is operated in the manner the Powerhouse currently is, with this level of gratuitous and lavish corporate largesse,” he said. “It is a model that the union does not believe gives the taxpayers of NSW either any value for money nor any confidence in the accessibility or financial sustainability of the Powerhouse, with its new Parramatta centre about to open. “We have raised many issues with the minister, including the excessive use of external labour and consultants, and we would strongly support an independent financial audit of the spending and recruitment methods used by senior management at the Powerhouse.”
Morris adds: ‘The disclosures come amid growing apprehension among the state’s cultural institutions about their ability to manage rising operating costs after NSW Treasurer Daniel Mookhey this week signalled a tight state budget on June 24. The Powerhouse’s trustee evening was itself billed as a chance to acknowledge “another fantastic year” for the museum, in which its Castle Hill storehouse had opened, work was proceeding on its $915 million Parramatta headquarters, and it was about to start on its $300 million Ultimo renovations, a ministerial briefing paper said.’ To read more about the Museum’s defence for its costs,
READ HERE:  OR HERE: 16 June Powerhouse dinner costs

16 June, 2025
‘PSA CALLS FOR “END-OF-YEAR FUNCTIONS” SPENDING AUDIT AT THE POWERHOUSE MUSEUM’
Well-informed Save the Powerhouse Museum community campaign, reports on the Public Service Association’s (PSA) comments on the inappropriate expenditure on end of year events, as described in the SMH (above): ‘A caterer charged the Museum of Applied Arts and Sciences (MAAS) nearly $100,000 during 2024, including the cost of three “end-of-year functions.” “According to disclosed catering and drinks costs”, a 40-guest VIP function alone cost more than $20,000—over $500 per person. Attendees included the Arts Minister, two staffers, donors, and the museum’s fundraising campaign team. “This (greatly) exceeded the $11,000 that Powerhouse Chief Executive Lisa Havilah assured State Parliament on March 13 was the “correct” cost of the private annual dinner.”
.. .As Linda Morris previously reminded us in a 10 March article, “Havilah’s predecessor, Dolla Merrillees, resigned in 2018 after it was revealed that the museum’s fundraising ball cost taxpayers over $200,000—while raising just $70,000.”
… A government spokesperson attempted to justify the spending by claiming the events were “funded by self-generated revenue – not taxpayers.” As if revenues generated by a public institution were surplus funds, free to be spent at the management’s discretion rather than part of its broader public-service budget!
Troy Wright, Assistant General Secretary of the Public Service Association of NSW (PSA), has now called for an audit of Powerhouse spending: “No other cultural institution in NSW is operated in the manner the Powerhouse currently is, with this level of gratuitous and lavish corporate largesse.” “We have raised many issues with the Minister, including the excessive use of external labour and consultants, and we would strongly support an independent financial audit of the spending and recruitment methods used by senior management at the Powerhouse.”
… Save the Powerhouse, too, looks forward to the NSW Auditor-General’s Performance Audit of the “Powerhouse Museum Parramatta and Ultimo projects,” scheduled for 2025–2027. This audit will examine “the effectiveness of the planning, design and construction” of the three projects https://www.audit.nsw.gov.au/annual-work-program-2024-27.
… Linda Morris concludes that “the disclosures come amid growing apprehension among the state’s cultural institutions about their ability to manage rising operating costs after NSW Treasurer Daniel Mookhey this week signalled a tight state budget on June 24.”
Indeed, the EXORBITANT $1.5+ billion combined cost of the Castle Hill, Parramatta and Ultimo projects—and their ongoing operating costs—will burden the NSW arts budget for decades….
As for the latest lavish event, the museum billed it as “a chance to acknowledge another fantastic year for the museum.” The Oxford Dictionary defines fantastic as “strange and imaginary, or NOT REASONABLE”, an accurate qualification for Lisa Havilah’s past few years as CEO of the Museum! READ MORE:  Save the P re Expensive PHM dinner 16 June

May 31, 2025.
‘Lionel GLENDENNING Obituary’
It was sadly announced in the Sydney Morning Herald that architect Lionel Glendenning had died on 21 May, 2025. Many who had worked at the Powerhouse Museum from the 1980s to the present, remember him very well. A key Alliance member is his wife, former deputy director, Jennifer Sanders. Published by The Sydney Morning Herald on May 31, 2025, the Obituary included:
‘GLENDENNING, Lionel William Augustus: 10 August 1941 – 21 May 2025
Architect, Inaugural R.G. Menzies Scholar to Harvard University, Graduate School of Design 1968/69’ Following detailed references to family members, the Obituary also concluded:
‘Relatives and friends of LIONEL are invited to attend his Funeral Service on Thursday, June 5, 2025, Magnolia Chapel, Macquarie Park Crematorium, Plassey Rd, North Ryde commencing at 2.00 pm. For further information:
SMH: https://tributes.smh.com.au/…/lionel-glendenning…
Livestream Link: unityfunerals.com.au/funeral-notices/

Powerhouse Museum Alliance wrote on its Facebook page: ‘It is so sad to know that we have lost Lionel Glendenning, who was the architect behind the award-winning adaptations of the old Powerhouse building in Ultimo, leading to a highly regarded Powerhouse Museum. Over the last 10 years MANY, MANY people have fought to stop the demolition of this work, and it is a tragedy that Lionel has not been able to see what we hope will be a real ‘saving’ of the site. I am very glad that I (Grace Cochrane) was able to see, and speak to him, recently. We can share our good memories with his family at his funeral on 5 June.’
Judith Coombs wrote on the Powerhouse Museum Alumni Facebook page:‘We are very sad to say farewell to Lionel Glendenning, who died peacefully last week at home with Jennifer and his children. He was the architect of our beloved Powerhouse Museum for which he was awarded the Sir John Sulman Medal for Public Architecture in 1988, the highest prize in architecture in NSW. Lionel and Jennifer have shown extraordinary leadership in the long campaign to save the museum in Ultimo. I think we can say that the Powerhouse would not have a future in Ultimo without their passion and deep commitment to what museums mean for our society. All our sympathies are with Jennifer, Alex, and family. You left an indelible legacy.
Save the Powerhouse also circulated information on Facebook and by email:
RIP LIONEL GLENDENNING: Our friend and mentor Lionel Glendenning died peacefully last week. He was the architect of record for the Powerhouse Museum in Ultimo for which he was awarded the Sir John Sulman Medal for Public Architecture in 1988, the highest prize in architecture in NSW. Lionel was a fierce opponent of the Powerhouse Museum’s so-called “Revitalisation” which will destroy most of his acclaimed work of transforming the old Ultimo Power Station into the world-class Applied Arts and Science Museum we all loved. He died fighting the destructive “Revitalisation” project but, sadly, the wrecking ball will soon reduce his Wran Heritage masterpiece to dust. All our sympathies to his loyal wife Jennifer, his children and family. Rest in Peace Lionel we, and all museum and heritage lovers, honour you. You left an indelible legacy
READ MORE HERE: Lionel Glendenning Obituary

30 May, 2025
‘As Parramatta’s Powerhouse Museum reaches full height, secret lifted on target opening date’
In the Sydney Morning Herald, Anthony Segaert reports that: ‘As Parramatta’s Powerhouse Museum reaches full height, secret lifted on target opening date. The new target opening date was inadvertently revealed by Premier Chris Minns at a press conference at the site on Friday morning, during which he announced a $5 million donation from the philanthropic Neilson Foundation for a range of exhibitions at the site…The museum has now reached its full 75-metre height, and its exoskeleton – the “milk crate”-like external steel pillars that leave the internal floor space free of columns – is also complete. The Neilson Foundation’s donation will go towards new exhibitions at the venue, including The Dark, a children’s exhibition focusing on “the new frontiers of discovery”, said billionaire founder Kerr Neilson.
…While Powerhouse Parramatta is expected to open next year, its Ultimo site (which will still house exhibitions) is also undergoing a major renovation. The museum’s move to Parramatta has been controversial, with cost blowouts and changes made over concerns the area, next to the river, could flood.’ READ HERE:  30 May SMH Parramatta opening date

‘Neilson Foundation Leadership Circle – Powerhouse Parramatta’
In relation to the news report above, the Powerhouse Museum circulated further information about the Neilson Foundation donation.
It added:…’The Neilson Foundation’s generous contribution will establish the Neilson Foundation Gallery at Powerhouse Parramatta and enable the creation of The Dark, a new landmark exhibition for children that will premiere with the opening of Powerhouse Parramatta in 2026. In recognition of this support, the Neilson Foundation will be acknowledged as the exhibition’s presenting partner. Featuring the magical diversity of the Powerhouse Collection, The Dark is being creatively led by Tony-nominated, award-winning director and writer Kip Williams and acclaimed designer Elizabeth Gadsby. The Dark, presented over 3 years, is being designed for kids aged four to 10, asking them to be brave and step into extraordinary worlds that will redefine immersive experiences for young people. ‘This visionary partnership with the Neilson Foundation not only honours the history and legacy of Powerhouse Museum — it propels it forward and strengthens our commitment to inspiring the next generation of thinkers, creators and innovators.’ The Hon John Graham MLC, NSW Minister for the Arts ‘We are proud to support Powerhouse Parramatta as exhibition partner for this immersive and innovative cultural experience for young audiences. Having the exhibition space carry the Neilson Foundation name reflects our shared commitment to fostering curiosity and learning in the next generation and supporting institutions that lead through innovation and imagination.’ Kerr Neilson, Chair, Neilson Foundation.’ READ HERE:  Neilson Foundation donation 30 May
[Despite this generosity, Powerhouse Museum Alliance and many associates remain doubtful about the Museum management’s commitment to displaying the extensive and significant collection and the historic stories that lie behind it, that  are known for recording our history while  inspiing contemporary audiences.  See also: Lett ers to Editor, 30 May]

6 May, 2025
THE CITY’S THP COMMITTEE UNANIMOUSLY APPROVES ALIGNMENT OF LOCAL HERITAGE LISTING WITH STATE LISTING
Save the Powerhouse Museum campaign group reported to their wide email and Facebook network on the disappointing outcomes of the meeting held on 5 May, adding later: ‘The City is not approving or disapproving anything. They positioned themselves as simple record-keepers: they acknowledge the fact that the NSW Government has approved the “Revitalisation” and will update their LEP2012 drawings and local heritage listing accordingly.’
In their message Save the Powerhouse  wrote:
‘On Monday, 5 May, the City of Sydney’s Transport, Heritage and Planning Committee (THPC) met to consider a proposal recommending that the Council “…approves the Planning Proposal – Powerhouse Museum Heritage Item Amendment, shown at Attachment C…” at its upcoming meeting on Monday, 12 May (Item 3 of the Committee’s agenda). https://meetings.cityofsydney.nsw.gov.au/ieListDocuments.aspx?CId=137&MId=4637, The proposal aims “to align both state and local listings.” Watch the meeting webcast https://webcast.cityofsydney.nsw.gov.au/archive/video25-0505.php (from 2:12:48)
In response to questions from Greens Councillor Matthew Thompson, Graham Jahn, Director of City Planning, Development and Transport, stated:

• The City’s proposed local heritage listing does not and will not include exemptions. He observed that the public appears to be confusing the State heritage listing with the City’s role, which is limited to drafting inventory sheets. These sheets will simply be updated to reflect the existing State Significant Development (SSD) approval “as a matter of fact.”
• The text of the local planning amendment will be publicly exhibited, and community feedback will be welcome.
• The City’s Heritage Floor Space Scheme does not grant additional floor space to heritage-listed sites. Instead, eligible sites that carry out conservation works in line with an approved Conservation Management Plan (CMP) may be awarded heritage floor space, which can then be transferred to other Central Sydney developments. This does not result in extra floor space for the heritage site itself. Such awards are possible only once every 25 years.
• Conservation Management Plans (CMPs) are the responsibility of the proponent (i.e. the NSW Government). The City no longer approves these plans.

In short, the City’s role has been reduced to that of a “registration and rubber-stamping body,” merely recording decisions made by the NSW Government—with no real authority to evaluate or alter them. The entire discussion lasted just eight minutes before the Committee unanimously approved the proposal.
Far from being “confused,” as Mr Jahn patronisingly implied, the community, supported by renowned museum and heritage experts, has spent the last decade—on its own time—trying to untangle the threads of a deeply flawed project and understand the position of important public entities such as the City of Sydney. This project will severely downgrade a world-class museum at great expense to NSW taxpayers, and has been systematically shrouded in secrecy by successive governments and administrations.

2 May, 2025
‘PHM Planning Proposal for Ultimo: STRONG OPPOSITION to proposed recommendation’
Save the Powerhouse Museum Campaign sent a very informed submission to the City of Sydney’s Transport, Heritage and Planning Committee, in relation to their meeting on 5 May about the Museum’s future. This meeting follows previous discussions: (See our news entry on 27 March, 2025 below: ‘Ultimo Powerhouse Museum: Notice of determination’. They write in their submission: ‘We refer to item 3 of the agenda of your meeting on Monday 5 May entitled “Public Exhibition – Planning Proposal – Powerhouse Museum Heritage Item Amendment – Sydney Local Environmental Plan 2012 Amendment” and wish to record Save the Powerhouse’s STRONG OPPOSITION to your proposed recommendation to the Council Meeting of Monday 12 May.
The proposed recommendation is for the Council to “…approve the Planning Proposal – Powerhouse Museum Heritage Item Amendment, shown at Attachment C…” during their meeting on Monday 12 May, ie. to amend the LEP 2012 local heritage listing to align with the State Heritage listing.
But, in fact, the State Heritage Listing of the “Powerhouse Museum Complex” (Item 268 of NSW Government Gazette dated 12 July 2024 https://gazette.nsw.gov.au/gazette/2024/7/2024-7_268-gazette.pdf ) does not protect the Museum at all. It contains 13 exemptions allowing all the demolition actions proposed in the NSW Government’s “Powerhouse Ultimo Revitalisation” project which will result in:
– The destruction of most of the 1980s Wran extensions
– The gutting of all the interiors of the Museum leaving only
– Reduce the Museum’s total exhibition area to a quarter, from 21,080m2 to just 6,000m2.
– Separate the Harwood Building from the Museum and –
– In summary, transform Sydney’s venerated world-class Applied Arts and Science Museum into an entertainment Centre.
The Government’s project does not meet the City’s own published conditions for its support and is strongly condemned by the Lovell Chen report commissioned by the Council.’
Save then details further serious concerns regarding ignoring identified related heritage significance of the original and adapted buildings, and: ‘Further, we are appalled by the cynical justification that a local listing aligned with the State’s version (Background Page 3) would “…enable the locally listed site to be eligible for an AWARD OF HERITAGE FLOOR SPACE, … In short, the local listing is proposed because it would facilitate future real estate developments within the state “protected” Complex not because it would add any additional heritage protection to the Museum (example adding commercial floors above the Harwood Building?).
In conclusion we urge your Committee not to recommend that the Council approves the local listing as proposed and ask again that the Council to withdraw their “support in principle” of the discredited Government’s project and, officially, OBJECT to it. This is not a conventional SSD, but rather it is designed to destroy a revered world-class museum, which is unprecedented in the civilised world. “NO CIVILISED SOCIETY DESTROYS A MUSEUM.” ‘
READ MORE: Save the PM submission to CoS THPC
They also suggest: ‘If you OPPOSE the recommendation as we do, please write to the THPC before the deadline line of Monday 5 May, 10am at secretariat@cityofsydney.nsw.gov.au. Committee Meetings start at 2pm on Monday 5 May. You can assist in-person or watch the podcast https://webcast.cityofsydney.nsw.gov.au/video.php

30 April, 2025
Powerhouse Museum in Ultimo: ‘What does Labor’s promise to ‘save’ the Wran building mean’
Concerned about the future of the Ultimo site of this significant state museum in central Sydney, Kylie Winkworth, museum expert and Powerhouse Museum Alliance representative, questions the election promise of Labor Arts Minister John Graham that, contrary to Liberal government plans: ‘The iconic and much loved Wran building will be saved.’ But she points out that this promise meant nothing: ‘The government’s plans for the Wran building are for museum demolition, asset destruction, staggering waste and the erasure of the Wran legacy and the Powerhouse Museum that Labor promised to save.’
With impressive photographs of the Sulman award-winning Wran building’s interior in 1988 and after, Winkworth quotes Graham as saying in September 2023: ‘We promised at the election that we would preserve the Wran legacy and keep the Powerhouse Museum at Ultimo open. We are doing just that.” But Winkworth provides extensive details about how ‘Every statement above is a broken promise. The heritage revitalisation is a hoax. No part of the Powerhouse Museum will be conserved, restored or revitalised. The Wran building is not saved. No trace of the Wran legacy will survive the demolition plans to turn a much-loved public museum into ‘Powerhouse Ultimo’, a smaller less functional performance, arts and venue hire facility.’
‘If the plans are approved, the Powerhouse Museum will be completely gutted down to the bare brick walls. All the museum’s exhibitions, interiors and museum infrastructure will be destroyed. It is a staggering waste of high value, fit for purpose museum infrastructure. Twenty-four exhibition galleries have already been emptied of their collections at huge cost. They will be gutted, demolished and downsized to just three cavernous spaces specifically designed for performance and venue hire, not museum exhibitions or collections. Powerhouse Ultimo is demonstrably not a museum.’
As well: ‘The real cost of Labor’s Powerhouse Museum demolition plan is not $250 million but more than $400m. It is the world’s most expensive, destructive and utterly wasteful museum demolition scheme; destroying an award-winning, purpose designed museum that is only 36 years old. Just five months after Labor’s sham announcement of the heritage revitalisation, the Powerhouse Museum was closed on false pretences, emptied of its collections and effectively defunded so its budget could be reallocated to cover cost over runs at Parramatta and Castle Hill. After Labor’s explicit promises in 2023 about saving the Powerhouse Museum and the Wran building, keeping the museum open and prioritising heritage conservation not demolition, it was a shock to discover that none of these commitments are embedded in the Powerhouse Ultimo project objectives. This cannot be an accident or oversight.’
Winkworth’s research paper describes many acknowledged details of proposed destruction and adds, about the perceived future purpose and program: ‘After the collection eviction and demolition, the shell of the former Powerhouse Museum will be repurposed as a creative industries, performance and venue hire facility’. Significantly, ‘The Powerhouse Ultimo Revitalisation plans erase all trace of the Powerhouse Museum that Labor promised to save. A renowned state museum that is only 36 years old will be completely gutted, substantially demolished and downsized for some other secret ‘heritage adaptation’ purpose. Ignoring community and expert views, the PHM has been stripped of the transport, power and engineering collections that are central to the museum’s purpose, heritage, identity and public esteem [alongside extensive collections of applied and decorative arts and design]. It took a century for these internationally renowned collections to finally be displayed in a purpose designed museum in the resonant spaces of the former Ultimo power station. Now they’re gone and are never coming back. In opposition Labor opposed the wasteful Powerhouse Ultimo plans. But in government they’re set on a massive backflip with double pike, de-industrialising the Powerhouse Museum of its defining transport and engineering collections and its labour history. After just two years in government, and a stack of broken promises, the Minns government plans to demolish the Wran building and gut the Powerhouse Museum, turning the investment of previous generations into a pile of rubble. In the process they’ll blow more than $400 million on shrinking the former museum to just three cavernous empty ‘presentation’ spaces designed for performance and venue hire, not museum collections or exhibitions. No wonder there’s a wall of secrecy and a long black hoarding to hide the world’s most expensive, wasteful and shameful museum demolition.’ READ MORE HERE:  Winkworth what does saving the Wran building mean April 2025

April 28, 2025
‘Price tag for opening of Powerhouse Parramatta edges towards $50 million’
Linda Morris reports in the Sydney Morning Herald on developments at the evolving Parramatta site for the Powerhouse Museum, [described by management now just as ‘Powerhouse Parramatta’], writing:
‘A British stage designer associated with U2’s Las Vegas concerts is set to build a multimillion-dollar “mirror maze” at the new Powerhouse Parramatta as the controversial cost of the museum’s opening shows and program hits around $50 million…. The project is one of five major exhibitions under development for western Sydney’s first landmark cultural institution, which opens late next year.
Together, the museum’s first exhibitions are forecast to cost $50 million. It needs to raise $10 million in private donations, this masthead can reveal….
Powerhouse Parramatta will have no permanent collection display when it opens, its vast collection – numbering 500,000 objects dating back to the steam age – relocated to a new facility in Castle Hill. Exhibits at Parramatta are to change every six to 24 months to drive repeat visitation and attract 2 million visitors from NSW, Australia and overseas.’
Morris adds some of the professional concerns expressed externally about the future role of the museum, writing: ‘But the programming decisions come against a background of rising tensions inside the museum over the scope of its final science, family and education offerings. The Public Service Association has warned the government about a blowout in expenses and a shift in the direction of the museum, once touted as Australia’s version of the Smithsonian, away from its “cultural roots”.
This follows revelations by this masthead that the museum and its chief executive funded a $30,000 Christmas Party. “The museum seems to be moving away from its roots as a traditional museum, focusing more on contemporary art, performance and even culinary experiences than offering up a traditional museum experience,” PSA acting general secretary Troy Wright said. The union said it feared the Powerhouse’s public programs were being driven by costly external hires of artistic associates, including photographers, artists, fashion designers and chefs, and not experienced professional museum curators and program managers. The union has raised the matter with Arts Minister John Graham, who has committed to a museum focused on families. It is seeking a second meeting.’
It is also reported that: ‘The museum said its program was only partly settled, and thousands of objects from the Powerhouse Collection would be showcased alongside national and international loans. Programs will include Indigenous astronomy, private space exploration, transport, agriculture and food science and will also offer student residencies.’
However, the further minimal descriptions appear to confirm the future focus on ‘art experiences’ and entertainment events, rather than engaging exhibitions and experiences based on the well-established collection, now in storage far away from the state city centre, in Castle Hill. READ MORE HERE, or HERE: April 28 SMH Parramatta
AND – the costs are proving to be controversial in the context of upcoming election concerns about housing, education, medical care and other issues!
AND – what about the future of the original site in Ultimo, which the Labor government promised to save, and which appears to be heading for considerable demolition and change of role as a state museum of national significance?

17 April, 2025
Cultural Institutions Advisory Group meeting with Minister Graham
On 17 April, 2025, the Public Service Association of NSW posted a Facebook entry, writing:
‘On Tuesday 15 April the PSA’s Cultural Institutions Advisory Group met at the Australian Museum for their monthly meeting. The group, whose delegates represent the Australian Museum, the Art Gallery of New South Wales, Museums of History NSW, The State Library of New South Wales, and the Powerhouse Museum had recently sent a letter to the Minister for the Arts, The Hon. John Graham, outlining the current concerns of members. Mr Graham attended the meeting to listen to members, and work through the concerns. This is the second meeting of the group that Mr Graham has attended.
A major issue facing members in all our CIs is persistent problems with shared services, including under payments, missing leave accruals and overtime not being paid. Also, the large number of members remaining on temporary contracts, and, particularly at the Powerhouse, the use of consultants and external providers for core business. The minister agreed to engaging with the PSA to work through these and other issues.
PHOTO: PSA’s Cultural Institutions Advisory Group with John Graham and Troy Wright, PSA Assistant General Secretary
On 16 April, an email circulated from PSA provided this extra information:
This announcement also included the questions asked in ‘a letter provided to Minister Graham prior to our meeting and included the questions’:
[See attached documents for 9 questions, including several significant queries about the future of the Powerhouse Museum]
Then: ‘Minister Graham, in reply to the questions with particular note to the state budget advised that they do have a budget which is under pressure but welcomed the PSA in working together on how the state and federal government can work together in support of our NSW institutions.
With regard to shared services, the Minister was very interested in the issues and concerns raised and again encouraged the PSA to advise on possible solutions to these issues.
Regarding the issues at the Powerhouse, the Minister has agreed to work through these separately in the coming weeks with the PSA.
A highlight within our meeting was hearing that the Minister and the NSW Government, when looking to budgets that are under pressure, are not forgetting to invest in people and wages and we look forward to working further with Minister Graham.’ READ MORE HERE: Cultural Institutions Advisory Group meeting with Minister Graham

13 April, 2025
‘Record of NSWG actions re Powerhouse Museum, Ultimo, 2015-2025’
Tom Lockley, long-time professional supporter of the Powerhouse Museum, and advocate over 10 years for retaining its former significance, circulated an extensive paper with this title, to the Premier, Treasurer, Ministers for arts, heritage and planning, and to wider audiences. He introduces it, saying: ‘This paper presents a summary of the process by which the so-called ‘revitalization’ of the Powerhouse Museum has unfolded over the past decade. All these matters have been repeatedly raised, for example with the relevant ministers, and/or with MAAS, and/or with Create NSW. Individual matters have also been referred to the Ombudsman, ICAC and the Audit Office of NSW, and applications for information on specific matters have been made using the GIPA process.
There is great concern that the developmental process has been contrary to the democratic norms and sound governmental practices to which Australians should be entitled. For example, no persons with significant museum qualifications and experience are seen to be involved, at a basic level, in the key decisions, viz: the ‘move’ decision of 2014, the ‘reprieve’ decision of July 2020 and the final decision to close the museum, remove the displays and to demolish the 1988 interior modifications to the remaining powerhouse buildings. Perceived deficiencies of democratic practice are the main subject of this paper.
The final decision to proceed has been taken by the present Government, (Powerhouse Ultimo Revitalisation SSD-67588459, which was approved on 24 March 2025). In effect, the Government has contracted to produce a museum that is a $350 million improvement on THE Powerhouse MUSEUM 1988-2020.
It is noted that the Government has fundamentally continued the processes of its predecessors 2014-2023, but the fundamental responsibility must reside with the current Labor Government. Beginning with the then Premier in 2014, there is a perception that the project has been guided by a small group of very powerful people who have been able to override expert opinion, public resistance an even financial rectitude, and this is a cause of great concern. This paper is being forwarded to the Premier, the Treasurer, the Minister for the Arts, the Planning Minister and the Minister for Heritage in case they wish to comment or make corrections.’
To read the detailed paper, READ HERE: Tom Lockey Report for distribution 13 April

4 April, 2025
John McDonald: ‘The Vision Thing’
In his regular on-line newsletter, Sydney-based art critic, John McDonald, includes comments on opposition to the secretive information and questionable recent government decisions about the Powerhouse Museum, in Parramatta and Ultimo, and their inappropriate museum management. Within his extensive summary, he writes of some examples:
‘Those good and useful institutions CEOs would destroy, are first given a new name. …Another great example, closer to home, is the Powerhouse Museum, now known as ‘Powerhouse’ – after a million dollar rebranding which advances the “visionary” schemes of CEO, Lisa Havilah, even as she trashes the very concept of a museum. Vis-à-vis the PHM, which I will persist in imagining as a museum, the campaign to save this venerable institution has been going on for a decade, battling against secrecy, deception, obfuscation, and outright lies. Much of this, I’m sorry – and a little shocked – to say, may be laid at the door of the NSW government. First it was the Coalition, hell-bent on destroying the museum, then the job was taken over by the new Labor government, which came in on an election promise of fixing the problem. Well, they’ve fixed it alright!
A new document published by the NSW Planning Department on 24 March, confirms the worst fears of the museum’s defenders and the staggering dishonesty of a government which has consistently said one thing and done another. Having assured us before the last election that “NSW Labor remains concerned about the focus on event rather than museum spaces,” decrying the Coalition’s “obsession with commercialisation and privatisation,” the current government has shown itself to be even more gung-ho than its predecessors in this regard. To whatever sins the Coalition accumulated, we may add large helpings of hypocrisy and dishonesty.
I’m not saying this simply to be provocative because the glaring contradictions between what was promised and what has happened, are documented in the most scrupulous detail. Everything is on the record, and that record is damning. What’s so depressing is that the government has made virtually no attempt to cover its tracks or explain its actions. It has ignored the protests, the petitions and the results of the sham “public consultations”, in which more than 90% of respondents have been overwhelmingly critical of the proposed “revitalisation”. Instead, it has continued to issue press releases telling us what a wonderful job it is doing.
The media, which in days of yore would have ravaged this specious snowjob, has swallowed it wholesale. … When nobody is prepared to investigate these nonsense claims and brassy announcements, the destroyers become ever more brazen, feeling invulnerable and omnipotent; determined to impose their own fantasies on a public that has rejected them time and again.
This is precisely what we’ve seen this week, as the latest Planning Department document mocks previous claims. The Save the Powerhouse group details the devastation in a new mailout, confirming that 75% of exhibition space will be eliminated by the Ultimo “revitalisation”. Instead, there will be three large volumes more suitable for rave parties than exhibitions. What was previously a functioning museum will become an occasional entertainment venue.
Most shocking of all, the Harwood Building, which has long served as the PHM’s best practice support facility – the centre for collection management, research library, accessible collection storage and conservation – is now viewed as “having an ‘intrusive’ impact on the Core Buildings and its removal would have a positive heritage impact.” …This means both the award-winning Wran Building, and the Harwood Building are due to be swept away by a government that uses the term “heritage” as a cover for the destruction of heritage! …
By eliminating all trace of the previous museum – not only the collection, which has been dumped unceremoniously onto trucks and carted off to storage in Castle Hill, but the actual buildings themselves – the NSW government has attempted to expunge the history of the site, replacing it with a gleaming, if poorly defined, vision of the future. But the past is a known quantity, the future a gamble. Does the government’s vision stand any chance of ever being realised?
It’s pie in the sky – and very expensive pie. Powerhouse CEO, Lisa Havilah, is happy to let herself be described as a “visionary” leader. She often boasts about her triumphant reign as director of Carriageworks, an institution she left on the verge of bankruptcy, no longer capable of holding regular exhibitions. At the helm of the PHM she returned the museum to attendance levels last seen in the early 1960s, while spending millions on projects that seemed to benefit hardly anyone. The most scandalous is the Powerhouse “associates” program, which has poured money into the pockets of a few anointed mates for very little tangible benefit to the institution or the taxpayer. In 2022-23 alone, $1.52 million went on “artists’ fees”.
PHM initiatives have included residencies in Paris, dance parties, photography and writing competitions, etc, etc, – things that bear no relationship to the core business of a museum. It seems that ‘reinventing’ the museum, means abandoning the very concept of a museum, and taking on the role of Creative Australia.
I’ve been over this territory many times, while the Save the Powerhouse and Powerhouse Museum Alliance groups have done a hundred times more research and exposure. Nothing has had the slightest impact on Minister, John Graham, who thinks Havilah is “a good operator” – an interesting choice of words.
To see what a good operator she is, one need only look at a piece she wrote for The Daily Telegraph on 21 March, titled Our Next Cultural Centre is Out West. It’s part of a concerted campaign to sell the museum to the western suburbs, perhaps revealing concerns that the great launch in 2026 may prove to be an anti-climax….The entire piece deserves close analysis, not because it’s especially profound, but because it is an excellent example of propaganda-in-action. …We are told the Parramatta project will be: “one of the world’s most significant new museum projects.” In fact, all indications are that it will hardly be a museum at all. There’ll be function centres, dormitory accommodation, a vegetable garden, commercial kitchens, and so on, but no storage facilities. Don’t expect museum-standard lighting or climate controls, or a dedicated goods lift. Only a quarter of the space is expected to be up to museum standard. Oh, and let’s not dwell on the fact that it’s sitting in a flood plain. All this for about $1.2 billion!
Havilah says they are “pioneering a new model”. That means a “museum” that is not a museum. It will be “a place that contributes to our night-time economy. A place that represents, records and engages with the industry and innovations of our times.” Don’t worry, I don’t understand what she means either…. “Industry” suggests the backing of major corporations, but it’s more likely that the new PHM will be shelling out funds to support “creative industries” that should be supporting themselves commercially. “Innovation” sounds very scientific, but so far it has only meant inserting contemporary art into everything. Under Havilah’s visionary leadership, the PHM’s science and technology components have been decimated. Curatorships in these areas have been abolished, and a whole raft of Mickey Mouse curatorships created to fit the new – but ill-defined – vision.…
We are subsequently informed that this miraculous museum will “play a vital role in recalibrating the cultural inequity that has long existed in our city, removing geographic barriers that hinder access for Western Sydney communities.” Access to what? To culture? I can’t see any “geographic barriers” that prevent someone in Parramatta hopping on the train to the CBD, just like someone from the country, or indeed, from Bondi. … This is not only stupid, it’s incredibly patronising to western suburbs communities, viewing them as a bunch of hicks who never venture far from their own turf.
Then we get a few words about the Lang Walker Academy, sucking mightily to the late property developer who sat on the board of the PHM for the last 18 months of his life without attending a single meeting. We are left to assume that Mr. Walker was merely a great philanthropist, who saw no personal advantage in putting money into a project that will support his own Parramatta development plans.
…Let’s summarise….The question is: Are Labor politicians actually convinced they are doing something wonderful for the western suburbs – and shoring up votes in the process – or are they simply pandering to the developers? In its earliest stages, people in Parramatta asked for a museum of art and culture. Weirdly, they were promised a science museum. Ultimately, they are getting a function centre that will compete with every other function centre in the vicinity, hoovering up business by virtue of being subsidised by the NSW taxpayer. The historical legacy of the Minns government will be one of wholesale cultural devastation.
By the time the long-drawn out, $2 billion vandalism of the Powerhouse Museum is complete, we will be left with three dysfunctional venues that bear no relation to museums, struggle to attract audiences, and put an ongoing burden on the NSW taxpayer that will leave no change from $100 million in annual operating costs. The big claim today (and indeed, for the past few years), is that matters are too far advanced to stop at this point. This is simply untrue. No matter how much it costs to stop now, and pay out contracts, it would prove much cheaper in the long run than to continue with this reckless, lunatic piece of empire-building being driven by “a good operator”. The Wran Building and the Harwood Building are still standing and could be preserved with the stroke of a pen. The bottom line is not even about expense, it’s about doing the right thing for the state’s cultural assets and its citizens.
Everything that is racing ahead with the PHM “revitalisation” is so very wrong it is set to be the greatest cultural catastrophe in Australian history. …Isn’t it about time that we stopped listening to the propaganda and started listening to people with experience and expert knowledge of museums, and to the communities who do not want a bar of the Havilah “vision”. When every vestige of the old museum is gone, it’ll be too late to say, in the words of the advertisement, “She should have gone to Spec Savers.”….READ MORE HERE: and HERE  John McDonald 4 April

27 March 2025
‘The Powerhouse Ultimo revamp has been approved – but the wait’s not over’
Following the announcement (below) made by the Department of Planning, Housing and Infrastructure, Megan Gorrey and Linda Morris report in the Sydney Morning Herald, that: ‘Work is due to start on the NSW government’s controversial $300 million rebuild of the Powerhouse at Ultimo within months after nearly a decade of false starts, protests and a parliamentary inquiry. But visitors face a wait to visit the revamped museum, which will probably not be completed until 2027 at the earliest.
Planning and Public Spaces Minister Paul Scully has granted approval to demolish staircases, internal walls and mezzanines within the Boiler House, Engine House, Power House and Turbine Hall, and build shopfronts along Harris Street and a new city-facing entrance and courtyard. Scully said the redesign would improve exhibition spaces and was a “world-class example of adaptive heritage reuse that will breathe new life into the museum”. “With a new entrance and an active Harris Street facade, the museum will continue to make its presence known in the Ultimo precinct,” Scully said. The approval is a step towards construction starting in mid-2025, more than 12 months after the applied arts and sciences museum shuttered its home of 35 years on Harris Street in February 2024. The former Coalition government’s policy to shift the Powerhouse to Parramatta sparked a wave of opposition and nine years of fractious debate. A parliamentary inquiry scrutinised the $1.5 billion proposal in 2020.
In 2023, the Minns Labor government scrapped a $500 million rebuild of the museum, opting instead for “heritage revitalisation”, which will retain the Wran building’s curved roof. The government said it would create “new and improved exhibition spaces” designed to meet international museum standards while “conserving and restoring the original heritage of the site”.
The overwhelming majority of more than 250 public submissions on the proposal were negative. Former Powerhouse trustee Kylie Winkworth said it was an “ill-conceived, wasteful and destructive assault on the heritage and assets of a major state museum that has been in Ultimo since 1893”. “The secret purpose of the Powerhouse Ultimo revitalisation project is not museum renewal but demolition and downsizing to change the use of the site from museum exhibitions and education to performance, parties, venue hire and creative industries.”
Consultant Ethos Urban’s response to the submissions did not directly dispute claims the renovations would shrink net dedicated exhibition floor space by 75 per cent. It said: “Rather than focusing solely on quantitative metrics, such as net floor space, the proposal represents qualitative improvements in clarity, circulation and the ability of redesigned spaces to effectively showcase exhibits.” READ HERE:  or HERE: SMH Revamp Approved

27 March, 2025
Ultimo Powerhouse Museum: Notice of determination
Following an email message on 27 March, to the many people who had made submissions opposing the proposed changes to the Ultimo site of the Powerhouse Museum, the Department of Planning, Housing and Infrastructure followed up in a letter on 3 April, with David Glasgow, Team Leader Key Sites and TOD Assessments confirming that: ‘’I am writing to inform you that on 24 March 2025, the Minister for Planning and Public Spaces approved the development application for Powerhouse Ultimo Revitalisation (SSD-67588459), under Part 4 of the Environmental Planning and Assessment Act 1979. The Independent Planning Commission has not conducted a public hearing in respect of the application. The development consent is subject to conditions. The assessment report contains our rationale for the conditions. You can view the assessment report, conditions and any endorsed plans on the NSW planning portal HERE:  This consent has effect on and from 27 March 2025 and will lapse on 27 March 2030, unless the development – whether a building, land subdivision or the carrying out of work – has physically commenced before that date, or if the building, land or work is already in use.
Our compliance team will monitor and, if necessary, enforce the conditions attached to the approval. Find out more about the compliance team’ HERE. For the earlier email messages, and the full letter, READ HERE:  Govt letters re Determination.

26 March, 2025
‘Hiding Extravagant, Reckless, Cost Over Runs at MAAS from the NSW FY24/25 State Budget’
In a detailed research document covering several years, museum expert Kylie Winkworth expresses concerns about vast increases in costs for museums, especially the Powerhouse Museum in Parramatta and Ultimo. She writes: ‘… when Powerhouse Parramatta was approved by the former government in 2018 the $915m budget was expected to cover all the costs up to opening day, including construction, fitout, exhibitions and programs, and Castle Hill. It was a shock to read in Monday’s SMH, 22 March:  [https://www.smh.com.au/culture/theatre/western-sydney-pleads-for-pm-to-rescue-270m-theatre revamp-20250313-p5lj7l.html ] that MAAS has another funding pitch for fitout, exhibitions and programming expenses for Parramatta, on top of the $915m, the $100 million for the land acquisition, and the estimated $300 million plus in special purpose and one off grants tipped into the MAAS budget in recent years, plus the defunding of the PHM so its recurrent budget can be used to defray the management’s extravagance, hubris and incompetence. The poor planning and design and extravagant, wasteful and unjustified costs at Powerhouse Parramatta, J Store Castle Hill and now ‘Powerhouse Ultimo’, is leaving the rest of the cultural sector in NSW in penury. The long tail of these Powerhouse projects will see the funding inequities continue. As will the uncounted opportunity cost for cultural projects in Western Sydney, regional NSW and growth areas of NSW from the Central Coast to Wollongong and the Blue Mountains. This is why the Arts Minister talks of a ten year strategy, as in no money until years 9 or 10. It was noticed the completion date for Powerhouse Ultimo was given as 2033 in the NSW Budget Infrastructure Statement for FY23/24 part 4-50..’ For her full document READ HERE: Winkworth Hiding Extravagent Reckless Cost Over Runs at MAAS from the FY2024-25 budget March 2025
For a related document:  ‘Winkworth: The Powerhouse Museum’s Wasteful Demolition and Redevelopment: Cost and Planning Comparisons with UK Museum Renewal Projects’
READ HERE.

10 March, 2025
‘Live sushi making, prawns and pav: Powerhouse museum defends Christmas party’
In print as: ‘Museum defends Christmas party after ‘exceptional’ year”
Associated with great controversies regarding the extremely expensive and destructive works planned for its Ultimo site, and the great cost of the Parramatta site with very reduced exhibition space for the collection, Linda Morris writes in her report in the Sydney Morning Herald about costs of two end-of-year parties for Powerhouse Museum staff and stakeholders, of $30,000 and $11,457, while…’The museum was also billed for event styling and equipment hire but declined to detail those additional costs until it consulted “third parties”.’ She notes: ‘Disclosure of the museum’s party comes amid heightened focus on government spending and ministers defending their use of taxpayer-funded vehicles. NSW Treasury is currently considering the museum’s funding pitch for fit-out and programming expenses for the $915 million headquarters being built on the Parramatta riverside. Conditional approval of its Ultimo redevelopment is imminent.’
We are reminded that: ‘Havilah’s predecessor, Dolla Merrillees, resigned in 2018 after it was revealed that the museum’s fundraising ball cost taxpayers more than $200,000 but raised just $70,000. A spokesperson for Arts Minister John Graham declined to comment on the museum’s spending, but confirmed he had attended the VIP and donor event, accompanied by two staff.’ Read HERE, or HERE: 10 March SMH PHM Parties
March 11, 2025:  In response to Linda Morris’ article (above) former President of the Powerhouse Museum’s Board of Trustees wrote in a letter to the editor:
‘I read with interest Linda Morris’ account of the lavish end-of-year party to “celebrate” a momentous year at the Powerhouse Museum. I served on the Board of Trustees of the Powerhouse Museum between 1999 and 2010, eight of those 12 years as its president. I was not aware of the event. It strikes me as a little ironic that some who were celebrating the Ultimo campus’ “$300 million renovation” that evening were not so long ago publicly advocating, indeed committed to, its complete and permanent closure. Were it not for a brave few who persisted (and still persist) to see this landmark museum retained in the centre of Sydney, we would undoubtedly be seeing yet another high-rise residential development on the Harris Street site. Memories are short. And the sushi is delectable.’ Nicholas Pappas, The Rocks

28 February, 2025′
On its Facebook page and email distribution, Save the Powerhouse Museum campaign writes: ‘The Labor NSW Government decided from the beginning that constructing new homes would be their main priority, which seemed like a good idea… So why are they spending so much effort and money on a museum demolition project rejected by the vast majority of the community and condemned by most museum experts worldwide.’… After providing comparative cost and project details, they continue: ‘When Parramatta opens (in 2026?) and Ultimo re-opens (when, if ever?), after nearly $2 billion of wasted public money the combined total exhibition area of the two venues will only be less than a half of that in Ultimo before closure – Parramatta has only one exhibition-quality space of 5,000m2 and Ultimo’s total space will be just over 5,000m2. Further, the MAAS Management has reserved the right not to use these spaces exclusively for Applied Arts and Science exhibitions. The Auditor-General will conduct a “Performance Audit” of “Planned Investment in arts and culture” which “will examine the effectiveness of the planning, design and construction for the Powerhouse Museum Parramatta and Ultimo projects” in 2024-27.  An opportunity to shed expert light on one of the biggest wastes of public money in Australia’s history?’ READ MORE HERE: Save the P, 28 Feb  or  HERE

February, 2025
Campaign: ‘Stop the Overdevelopment of North Parramatta’
Following the earlier, and very controversial demolition and removal of the historic building, Willow Grove, in order to make space for the new ‘Powerhouse Parramatta’, Andrew Charlton MP, member for Parramatta, supports strong opposition to overdeveloping the significant Cumberland Hospital site in North Parramatta. Seeking support for a petition, he writes:
‘Dear Resident, Have you heard about the plans to cram 30,000 people onto the old Cumberland Hospital site in North Parramatta? This proposal will destroy some of Parramatta’s last green space, compromise our heritage buildings, and cause traffic chaos. Last weekend I held a community BBQ to explain why I oppose this development. Did you know that Parramatta has more housing approvals than any other local government area in NSW? We support more housing in the CBD, on Church St and Westmead South. But we don’t support losing our heritage or more of our last remaining green space.’
Suzette Meade, a close associate of the Powerhouse Museum Alliance and others, also contributes: ‘Instead of packing thousands of people into a sensitive heritage site, we should be creating a cultural and tourism hub that brings jobs and investment to our city. Imagine a precinct like Port Arthur or Salamanca Bay, attracting hundreds of thousands of visitors each year. Heritage tourism brings long-term financial benefits, increased employment, and new opportunities for small businesses in Parramatta. A well-planned heritage precinct could strengthen Parramatta’s economy while preserving our history’.
READ HERE: 🚨 STOP THE OVERDEVELOPMENT OF NORTH PARRAMATTA (6)
Powerhouse Museum Alliance supports the provision of regional museums and galleries, and acknowledgement of their heritage histories and locations, but strongly campaigns for retaining significant state museums like the long-established Powerhouse Museum, in state city centres.

19 February, 2025
Food Producer: New appointment for Powerhouse Parramatta
Despite the continuing need to engage audiences, PMA and colleagues query replacing the great loss of exhibition/collection-based professionals, in this NSW government’s inclusion in its list of new positions available, of a ‘Powerhouse Food Producer’. READ HERE. Powerhouse Food Producer 19 Feb  It announced :‘The Powerhouse Food program is an innovative and engaged contemporary program that connects audiences and communities with new ideas and histories of food, food culture, agriculture and food science that will sit at the forefront of food and culinary practice. Central to the Powerhouse Food program and Powerhouse Parramatta is the Vitocco Family Kitchen. This 200-seat demonstration kitchen will bring together industry and community alongside Australian and international chefs and producers to engage with food’s diverse science and culture. The Powerhouse Food Producer coordinates the delivery of the Powerhouse Food program. The role is responsible for working collaboratively with teams across the Museum to deliver the program, including masterclasses, industry and learning programs, festivals and events alongside research and development, bringing together local, national, and international industry leaders.’READ MORE:
[ PMA recalls that ‘The Vitocco Charitable Foundation’s investment (of $5 million) in Powerhouse Parramatta will help the museum showcase histories and cutting-edge thinking about the culture and production of food through two foundational programs: the Vitocco Family Kitchen and the Vitocco Legacy Project.’ READ HERE:  It is also noted that the company was charged over selling asbestos- laced mulch all over Sydney a year or so ago READ HERE. ]

 19 February, 2025
BOULTON & WATT ON ITS WAY TO EXILE?
From their close local association, Save the Powerhouse Museum records that: ‘The Boulton & Watt flying wheel was unceremoniously dumped on a low-bed truck tonight and driven to exile, in Castle Hill – we presume. This is despite repeated promises that the steam engine would remain on site and protected during the “Revitalisation” (read demolition) works as it was deemed too fragile to be dismantled and transported. But the extent of the planned building demolition is such that protecting it on-site was finally declared impossible. The Powerhouse Museum B&W is one of only two remaining specimens of this engine in the world and is the only one still in working order. Nicknamed the Mona Lisa of the Steam Revolution it is so precious that its value cannot be estimated. All this happens while the infamous “Revitalisation” project is still under assessment by the NSW Planning Department, making a joke of the democratic process. An eleventh broken promise, Kylie Winkworth?’
READ MORE, with PHOTOS:  Save B&W 19 Feb

30 January,  2025
Question: Powerhouse Museum Ultimo; early ‘renovations’?
In a ‘Work notification February 2025’ document,  Infrastructure NSW announced that ‘The Powerhouse Museum Ultimo revitalisation will provide world-class exhibitions spaces focused on applied arts and sciences and a major new public domain. Early works by DECC will begin with the removal of an awning on Macarthur Street. On Saturday 1 February 2025, between approximately 7am and 1pm (weather permitting), there will be a temporary street closure for the removal of the awning located above the loading dock on Macarthur Street. This awning connects the Powerhouse Museum Ultimo to the Harwood Building. Our contractor (DECC) will temporarily close Macarthur Street to all street traffic (including pedestrians, bikes and vehicles) between Harris Street and The Goods Line. All traffic will be directed along Harris Street down towards Mary Ann Street. ‘ READ MORE: Harris St awning 30 Jan
Related to this, it is noted that on The “Heritage” Fact Sheet “, the heritage “grading” significance on page 8 identifies that: The Wran building & Galleria heritage value is moderate, the forecourt is of little significance and the canopy to Harwood Bldg and the 2 emergency staircases are ‘intrusive”. (Source: Curio  2024) For FACT SHEET READ HERE.
 Powerhouse Museum Alliance and Save the Powerhouse ask: ‘is this to make the Harwood Building independent for passing over to – eg – UTS??? No more covered access from one building to the other – no future relationship?

January February 2025
SAVE THE POWERHOUSE MUSEUM CAMPAIGN
SUBMISSIONS TO SAVE THE POWERHOUSE MUSEUM IN ULTIMO
Patricia JOHNSON & Jean-Pierre ALEXANDRE, Co-convenors of the Save the Powerhouse Campaign, continue to make significant submissions to ministers in the NSW Parliament, and to circulate their information to a wide range of supporters. At the same time, they have been hosting a joint Pyrmont Action/Save the Powerhouse/Friends of Ultimo petition which in January 2025 had collected 9,500 signatures and will reach its 10,000 benchmark in the near future. Powerhouse Museum Alliance supports their efforts. READ PETITION HERE.

READ EXTRACTS FROM SOME OF ‘SAVES’  SUBMISSIONS BELOW, with links to websites:
(Save) 17 February, 2025
A TALE OF TWO LABOR GOVERNMENTS
Save the Powerhouse Museum effectively compares issues about management of museum development in two states: NSW and South Australia.  They write: ‘In April 2024 The SA Labor government put the restructure of the South Australian Museum on hold and launched a review into the proposed changes by a three-person panel. This will consult with key stakeholders and make recommendations.’ From ABC news  READ HERE.
‘The “Reimagining” of the SA museum project had been announced by the museum’s chief executive in February 2024 “with a vision of creating a more contemporary experience for visitors to the site” (does that remind you of MAAS CEO’s vocabulary?) but it received public backlash and concern about research and projects, as well as the repatriation of First Nations ancestral remains. Less than 5 months later, in September 2024, the SA Premier, Peter Malinauskas announced that his Government had withdrawn the proposal in accordance with the three-person panel’s recommendation “to halt all the suggested changes.”  The museum’s chief executive immediately resigned to be replaced by former Flinders University deputy vice-chancellor Robert Saint on the Museum’s Board.’ READ HERE.
All this in less than 8 months! This is in complete contrast with the NSW situation, where, despite 10 years of public and expert’s opposition, various petitions including a parliamentary version which collected over 10,000 signatures, and 2 parliamentary inquiries highly critical of the project, the “Presence” aka “Renewal” aka “Revitalisation” of the Powerhouse Museum is still alive, the CEO is still in office and the NSW Labor Government is ready to spend $500 million on a demolition project nobody wants. It is despite NSW Labor’s backing, while in opposition, of the majority of the two Upper House Inquiries’ findings.
At the time the Inquiries’ Chair, Robert Borsak (SFF) and Deputy Chair, David Shoebridge (The Greens) were enthusiastically supported by Inquiry member Walt Secord (Labor). “The NSW Parliament Select Committee on the management of the Powerhouse Museum has revealed the shroud of secrecy that the NSW (Coalition) Government has sought to apply across the operations of The Powerhouse Museum for the past 12 years” declared then Shadow Arts Minister John Graham on 22 March 2023, 3 days before the election.
He added that “NSW Labor remains concerned about the focus on event rather than museum spaces in the Government’s plans (which) reflects the (Coalition) Government’s obsession with commercialisation and privatisation” and that “a NSW Labor government will release key details of the plans for the Ultimo and Parramatta sites that until now have been kept secret.”
Says Heritage and Museums expert Kylie Winkworth, “Labor is finishing the Powerhouse Museum demolition job the Liberals started. The CEO plans to generate $38.8 million every year in commercial revenue from the Parramatta convention centre and ‘Powerhouse Ultimo’. The museum word has gone for good from the PHM’s brand. What’s left of the collections is buried at Castle Hill” Read her revised “LABOR’S TEN BROKEN PROMISES ON THE POWERHOUSE MUSEUM”

 [Save] 30 January, 2025
‘CASTLE HILL IS NOT A MUSEUM’
Save wrote ‘The International Council of Museums (ICOM) defines a museum as “a not-for-profit, permanent institution in the service of society that researches, collects, conserves, interprets and exhibits tangible and intangible heritage. Open to the public, accessible and inclusive, museums foster diversity and sustainability. They operate and communicate ethically, professionally and with the participation of communities, offering varied experiences for education, enjoyment, reflection and knowledge sharing.” (Prague, August 2022 ) READ HERE.
Museums expert Kylie Winkworth highlights the responsibility of governments, management and boards, which are only TEMPORARY CUSTODIANS of museums, to pass on the legacy inherited from previous generations: “A museum is a place that shows its treasured cultural collections for the enjoyment and engagement of visitors and their education. The premise of a museum is that it is a PERMANENT institution and the OBLIGATION on committees, governments, managers and custodians and boards is that the legacy of previous generations will be preserved and enhanced and passed to the next generations.” (9 January 2025, interview with Elizabeth Farrelly on Eastside radio  HERE  or HERE)
This essential obligation has not been fulfilled by the successive NSW Governments, MAAS Managements and Boards of Trustees which, since Mike Baird’s announcement 10 years ago (27 February 2015) that the Powerhouse Museum would be moved from Ultimo to Parramatta. They inherited a successful Applied Arts and Sciences Museum lauded by experts worldwide and revered by the public and the Sydney Observatorybut will pass nothing on –
– The Observatory, which is now only visitable twice a week on expensive ($120+ for a family with two kids) pre-booked guided tours.
– The Parramatta “milk crate”, which might open at some point in 2026, will not be a Museum as openly confirmed by the recently appointed President of the MAAS Trust, David Borger: “We’ve got to be a bit unpretentious here…we don’t want to be too stuffy and conservative…I am “unapologetic” about finding new ways to present the collection, nor should the public mind if weddings share presentation floor space”. In short an event centre and venue for hire!: READ HERE.
– Despite all the promises of the Labor Government, the Powerhouse Museum in Ultimo closed a year ago (5 February 2024), was stripped of all its permanent exhibitions and the collections were moved to Castle Hill. It is now “Revitalised” into yet another event centre and venue for hire, hidden behind a row of “creative art” shops.
– The Castle Hill warehouse, where most of the MAAS collections are now stored, does not “present collections and programs” as falsely claimed on the “Powerhouse” website  It is not and will never be a museum! It is difficult to access in an area almost devoid of public transport, opens only a few hours at week-ends and presents the “objects” in their “bulk” storage state, without any effort to offer “varied experiences for education, enjoyment, reflection and knowledge sharing.”  Read about Castle Hill.
See HERE  how the Loco No1, Dick Smith’s helicopter or the Bleriot airplane were moved from their “educative and enjoyable” majestic environment in Ultimo onto bare concrete floors or wood pallets without any interpretative signage. (photos courtesy of long term PHM supporter Tom Lockley). The Bleriot plane is presented wingless (the wings are stored separately in wooden crates). What about the history of this particular model which Maurice Guillaux flew from Melbourne to Sydney in 1914, or the first Australian airmail service, or the place of this airplane in the air and space travel history? ‘ READ MORE: Save 30 Jan Castle Hill

[Save] 18 January, 2025
‘RE: POWERHOUSE ULTIMO “REVITALISATION” STATE SIGNIFICANT PROJECT APPLICATION SSD-67588459’
In a letter sent to NSW Planning Department (and ministers), Save wrote:
‘Further to our previous submissions regarding the referenced SSD Application we wish to note the following discrepancies between the revised scope of the project as now described on your Portal:  READ HERE:
https://majorprojects.planningportal.nsw.gov.au/prweb/PRRestService/mp/01/getContent?Att achRef=EXH-70255721%2120240909T061931.822%20GMT and the documents supplied by the Applicant in their “Response to Submissions”. The project scope reads “Revitalisation of the Powerhouse Ultimo museum, including – Demolition of NON-HERITAGE ELEMENTS of Ultimo Powerhouse building – PARTIAL demolition of the Wran building – Adaptive reuse of heritage items, new museum spaces – New public spaces”
The documents supplied by the Applicant propose to –
1) Demolish ALL the intermediate floors constructed in the 1980s as part of the Sulman Prize-awarded “adaptive reuse” of the old Power Station into a world class Museum of Applied Arts and Sciences. The “adaptive reuse”, including these floors, is of HERITAGE SIGNIFICANCE according to the findings of the Lovell Chen heritage assessment report Sydney. So this is the demolition of HERITAGE elements.
2) Entirely demolish the Wran Building
Item H “Structural Sequencing Diagrams” document describes the complete demolition of the Wran building in 11 stages. Only part of the roof framework, reduced in length, would remain and an entirely new concrete and brick structure would be built, covered by a new “round-shape” corrugated steel roof of similar appearance. So, this is NOT PARTIAL demolition
3) To transform the luminous Galleria, “a tall, thin, barrel-vaulted linear volume echoing the
tall, nave-like volumes of exhibition structures of the nineteenth century such as the Crystal
Palace in London as well as train departure halls of the same period” (Lovell Chen page 34)
into a brick-lined dungeon-like staircase
4) To reduce the existing 25 exhibition spaces of various sizes, from a total of 21,080m2 to only 3 cavernous volumes, for a total of just over 5,000m2 (less than a quarter!). So, this is not the creation of new museum spaces but the destruction of over 15,000m2 of exhibition area. … DECC, the demolition contractor appointed by Infrastructure NSW (INSW), started demolishing the canopy which links the Harwood Building to the rest of the Powerhouse Museum even though the Project is still under “Assessment” by your department. The demolition is classified as “early works construction”, a pretext to carry out works before the project is approved. This belies the democratic process and reduces the NSW Planning Department to an “after the-event” rubber stamping agency …The Project is overwhelmingly unpopular and is seen for what it is, a vast waste of NSW taxpayers’ money.
It is inconceivable that a FAIR Assessment of a project so vehemently opposed by the public, the experts and respected organisations could recommend its approval. It is time common sense prevailed. READ MORE: to Ms Yuan, in Dept of Planning:  Save the P To Planning 18 Jan..and a circulated message, inlcuding contact details for submissions to MPs: Save 19 Jan demolition awning
 [Save] 7 January, 2025
‘CoS STANDS FIRM ON DEMANDS FOR RESPECT OF HERITAGE AND EXHIBITION AREAS’
Save the Powerhouse Museum writes: ‘In recent posts we detailed how the City of Sydney, just before Christmas, decided to “kick the PHM can down the road”. The Council’s formal OPPOSITION to the “Revitalisation” project we requested, instead of its “support in principle”, could have made a significant difference even though the “Determination” of this State Significant Development (SSD) rests with the NSW Planning Department. “The City of Sydney, notwithstanding the constraints that it faces with the policy of SSD approvals, has considerable clout and capacity to speak directly, at a senior level to the Premier and Ministers” said Kylie Winkworth in her address to the Central Sydney Planning Committee (CSPC) meeting of 12 December http://tiny.cc/smf1001 .
However, as promised in their letter of 19 September 2024, the City of Sydney made a new submission to the NSW Planning department on 16 December 2024.
Their September letter http://tiny.cc/rsg4001 shared our concerns regarding:
– The demolition of heritage, especially regarding the Wran building.
– The reduction of the Museum’s exhibition area from 21,080m2 to just over 5,000m
It advised us that the Heritage Assessment Report they commissioned from Lovell Chen would be made public, once reported to the Council.
Their December submission is now available on the NSW Government Planning Portal  and comprises a letter [with two attachments:  Attachment A – Draft Conditions of Consent;  Attachment B – Lovell Chen Report (For links, see   Save 7 Jan 2025)
It raises the same heritage and exhibition areas concerns as in September.
Heritage: The City states that “The Response to Submissions report notes that the listing of the Complex focuses on use rather than fabric. This is NOT CONSISTENT WITH STANDARD PRACTICES dealing with development of built heritage.”
“The heritage assessment by Lovell Chen provides an overall assessment of the complex as an ‘interrelated’ group of buildings, with an emphasis on the conception and inspiration for the design of the Powerhouse Museum Complex, and the design of the Wran Building when the former Powerhouse complex was adaptively reused to become the Powerhouse Museum between 1978 and 1988. The assessment documents that the fabric of the complex is of considerable significance” their letter continues, and “the City’s previous comments and requests for further and better information relating to the heritage impact of the proposed development remain unchanged.”
The City recommends that “The original structure of the Wran Building is to be retained” (Attachment A page 2) and that “A more detailed assessment of fabric be provided for the entire site…which would ensure a more thorough understanding of significant elements to be retained and conserved.
Concern is raised with regard to the significant fabric and components of the place not being identified prior to proceeding with new design for the Powerhouse Museum, and the change in fabric to reclad the Wran Building with brick as being incongruous with the existing lightweight contemporary structure.”
Exhibition area: ”The City notes community concern regarding the quantum of existing exhibition space (approximately 20,000sqm) differing from the Proponent (INSW)’s existing and proposed gross floor area (GFA) calculation. It is recommended that the Department review this aspect of the proposal carefully to ensure that exhibition and programming spaces are not reduced. It would be useful if a typical fitout of an exhibition space could be conceptualised.” The “cognitive dissonance” noted by Kylie Winkworth on 12 December, 2024 persists: the Council still approves in principle the project but keeps raising (well founded) objections condemning the “Revitalisation” project unless it is entirely re-designed. As a matter of fact:
– Ensuring that “the exhibition and programming spaces are not reduced” condemns the proposed massive demolition of all intermediate floors in the old power plant and in the Wran extensions.
– “A more detailed assessment of fabric consistent with standard practices” would preclude the entire demolition of the Wran Building and its brick wall encasement. After a decade of inappropriate decisions the NSW Government still has no plan acceptable to the Council, the experts and the public.
During the Council Meeting of 16 December 2024 the Lord Mayor said “I think things have reached the point now where heritage is going to be respected and restored and we are going to get a better outcome in terms of the interiors and in terms of exhibition spaces” (Listen to Council meeting webcast from 1:37:20)
How did she reach this conclusion? “We will be able to check that when the State has done its work” she concluded. Let’s hope it will not be too late!
RESPONSES:
Powerhouse Revitalisation: Reply from Lord Mayor of Sydney
In her reply to Bruce Lay from Heritage solutions, one of many who had expressed concerns about the City Council decisions, Lord Mayor Clover Moore included: ‘I refer to your email about the Department of Planning, Housing and Infrastructure’s (the Department) Powerhouse Revitalisation project… As you are aware, our heritage assessment by Lovell Chen architects identified the whole of the site had heritage significance, including the Harwood Building and the 1988 adaptive reuse and extensions (referred to as the Wran Building). This informed the City of Sydney’s recent planning proposal to revise our existing heritage listing, and to increase the existing curtilage. A revised State Heritage Register (SHR) listing for the site was gazetted in July 2024, which included the broader site of the Powerhouse Museum and the Harwood Building. The boundaries of our proposed revised listing and the revised SHR boundaries are the same. Given this, the CSPC and Council resolved to defer consideration of the Planning Proposal – Powerhouse Museum Heritage Item Amendment, to enable a review of the purpose and additional benefit of the local listing against the recently expanded state heritage listing. Staff expect to have this review to Council in the first half of 2025.
…As you know, the project is State Significant Development currently under assessment by the NSW Department of Planning, Housing and Infrastructure (the Department). The City made submissions to the Department about the redevelopment. We have consistently sought to ensure the site remains a museum showcasing the history of arts, design and technology, while protecting the amount of exhibition space and heritage  significance. I have strongly advocated for the museum to remain in Ultimo at a time when it was slated to be relocated. hile the City supports the renovations in principle, we remain concerned that there has not been an adequate grading of heritage significance for all of the components, spaces and fabric of the place prior to proceeding with a new design for the Powerhouse Museum. If you would like to speak with a Council officer about our work to protect the Powerhouse’s heritage, you can contact Matt Devine, Senior Specialist Planner Heritage, on 02 9265 9333 or at mdevine@cityofsydney.nsw.gov.au. READ HERE: Clover’s letter Feb 25

 9 January, 2025
‘Has the Powerhouse been saved? Or is it actually under demolition?’
In Episode 72 in her Sydneyist Program on Eastside Radio community station, experienced cultural journalist, Elizabeth Farrelly, ‘is joined by museums specialist KYLIE WINKWORTH to update you on the latest developments in this long-running Sydney cultural drama.’
In the 30-minute interview from 6pm, Winkworth takes Farrelly and radio listeners through the extensive publicly-supported 10-year struggle to save the Powerhouse Museum in Ultimo, expertly summarising the sequence of events and the many continuing concerns about the management of the Museum, the deceptive or hoax ‘promises’ by governments, and its future in Ultimo, in relation to heritage, content and program. LISTEN HERE: (tick arrow on left side)
On 11 January, Save the Powerhouse group then transcribed much of the interview, which included comments from Winkworth such as: ‘What is a Museum? “A museum is a place that shows its treasured cultural collections for the enjoyment and engagement of visitors and their education” replied Winkworth, “the premise of a museum is that it is a PERMANENT institution and the OBLIGATION on committees, on governments and managers and custodians and boards is that the legacy of previous generations will be preserved and enhanced and passed to the next generations.. A museum is an INTERGENERATIONAL legacy.”
…“What we are looking at now is the world’s most expensive museum demolition scheme, contrary to everything Labor promised…They said that they would keep the Powerhouse Museum open, protect the Wran Building and preserve the Wran legacy…Not one of these promises was kept
…“The 1988 building (Wran Building, Galleria and Harris Street frontage) will be substantially demolished and it is not clear whether the roof form or the Galleria will survive. They have not worked out (or budgeted!) how to demolish it! When they take out all the interiors and the mezzanine there is nothing to hold it up.”
“This has been facilitated by what we call the “HOAX HERITAGE LISTING” in July last year when they announced the Powerhouse Museum Complex was listed, saved and will never be allowed to be redeveloped or sold….” READ MORE HERE:  Farrelly and Winkworth 11 Jan Save the P
Save also asks that we ‘Sign our joint petition https://chng.it/x6r5ZRtCQK if you have not done so yet and encourage your family and friends to do the same. The petition has now collected more than 9,300 signatures and should soon reach the 10,000 benchmark.’