The art world is fixated on artists' countries of birth. In biographies, catalogue entries, articles and texts the world over, this detail is typically one of the first things to be noted. This convention can be illuminating but might also be a burden. Some institutions are actively reconsidering the format and artists have been known to contest it.

The phenomenon of aligning practices with place is nowhere more apparent right now than at the Venice Art Biennale. In national pavilions spread across the city—from the grandiose Giardini to hidden palazzos—artists represent their countries. Some nations are old hands and have participated since the early 1900s. For others, this year marks a thrilling debut.

What does it mean for Kamilaroi/Bigambul artist Archie Moore to represent Australia, a country where despite a recent referendum, constitutionally, his community does not exist? And how do artists tackle presenting works in the name of a state from which they feel alienated?

Our issue this week spotlights the challenges of presenting art in this context. For many countries, finding the millions needed to commission and execute such exhibitions is unfeasible. While the relevance of the pavilion structure is an old debate, now is perhaps the time for an overhaul.