If I had known how much the exhibits at the triennial were funded and purchased by the institutions I would have understood why there was nothing very controversial there. I suppose it comes down to the politics of state galleries and their directors: Is a director and her staff outside the establishment of patrons and made to measure artists, interpreting new Asian art for the public or is she inside the network, curled up in the comfort of another entertaining but tame show? I didn't really think about it until this article.