The founding of the Liverpool Biennial a decade ago by James Moores, a relation of the great art patron of the region, John Moores, was an inspirational breakthrough. At long last, Britain cast off its national habit of refusing to stage a spectacular, regular survey of new international art. Before then, the whole notion of holding a UK biennial was regarded as a hopeless fantasy. Such events were only held abroad, preferably in sublime locations like Venice.

Unlike an exhibition confined to a single museum, the Liverpool Biennial allowed exhibitors to invade all its urban spaces. There was nowhere to hide. The curators of the 2008 biennial, led by the artistic director Lewis Biggs, are celebrating Liverpool's European Capital of Culture year with an equally irrepressible explosion of activities.