The placards were part of Blak Parliament House, a work created by Yarrenyty Arltere and Tangentyere artists, and the first piece when entering the triennial's exhibition space. As such, it sets the tone for the exhibition.

This year's triennial, titled Ceremony, showcases 18 new bodies of work by 38 First Nations artists from across the country. Ceremony in itself is not a new concept for Indigenous culture, but the triennial has offered the chance for artists to explore its prevalence in First Nations communities today.

These explorations have collectively created a message worth listening to, according to Perkins, who is an Arrernte and Kalkadoon woman.

"One of the things my father said was, 'We know we cannot live in the past, but the past lives in us'," she said.

"What these artists say to me, anyway, is that if we don't listen to these artists, listen to these voices, listen to these stories, and hear our people who've been in this country - the world's oldest continuous culture - there won't be a future. We won't have a future to live in. So I think the message here is one of listening, hearing and thinking."

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The expansive exhibition across the National Gallery site includes works in the Sculpture Garden, Fern Garden and on Lake Burley Griffin and brings together a diverse range of artists working in a variety of art forms.

A significant focus in the exhibition sees local Ngambri-Ngunnawal elder Matilda House and her son Paul Girrawah House create Mulanggari yur-wang (alive and strong), a permanent public art installation of tree scarring in the National Gallery Sculpture Garden.

"This is Aboriginal land. Always was, always will be," Perkins said.

"I think something very prevalent and especially important to note is that in this place, in Canberra - particularly where we are, at the heartland of what is white fella sacred grounds - that our peoples, our family, our countrymen and women, whose country this is, have often and too often been overlooked.

"And I think the tree scarring project that Aunty Matilda and Paul have started is a very important step in gaining that recognition. I'd like to see trees all over this beautiful country, right up to Parliament House, so there's no denying whose country this is."

National Gallery director Nick Mitzevich said since the National Indigenous Art Triennial was established in 2007 it had become one of the most important exhibitions for First Nations art, artists, and culture in Australia.

"Importantly, we continue to find new ways for the triennial to reach the widest possible audience and bring First Nations art and culture into the lives of all Australians," he said.

"The exhibition will tour the country and, for the first time, for the National Gallery, a digital publication will bring the stories of the artists and their art to a global audience."

Ceremony runs at the National Gallery of Australia until July 31.

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