Introduction: Biennials are festivals and exhibitions of contemporary artworks, which are held with the aim of identifying and introducing the most significant and recent artistic phenomena as well as evaluating the performance of the artistic community over two-year periods. Biennials play an effective role in establishing communication between art experts and society, which leads to the dynamism of the art community. The overall goal of biennials is to identify and evaluate the art community and its activities, while introducing the newest and most important contemporary artistic developments. They also facilitate an active link between society and artists.
The first art biennials in Iran were held before the Islamic Revolution; the Tehran Biennial took place for the first time in 1958 under the supervision of the General Directorate of Fine Arts, with the participation of 45 artists. Considering its outcomes and impact, this biennial marked the beginning of a new era in the history of contemporary art in Iran. It was organized to examine and evaluate new works in Iranian art and to familiarize society with modern art. With the presence of Iranian and foreign judges in this international exhibition, the last edition included works by artists from Iran, Turkey, and Pakistan. Although this event was held only five times, it had a clear influence on the development of Iranian art. After the Islamic Revolution, there was a long hiatus; the first post-revolution biennial was held in 1991 in the field of painting, with the participation of 264 artists, indicating significant growth in quantity. However, the continuation of biennials has faced various challenges, many of which persist. Among the most important biennials in Iran is the Miniature Biennial, as miniature painting is a core traditional art and a symbol of Iranian national heritage. Therefore, such events require careful management to further promote this art form. Judging and selection criteria have consistently been controversial issues in miniature biennials. The lack of fixed standards and procedural inconsistency across different editions has caused disappointment and discouragement, especially among young and innovative artists. Additionally, unlike in other countries, the competitive aspect dominates Iranian biennials, which can have both positive and negative effects.
Purposes & Questions: The purpose of this research is to investigate the performance of miniature biennials in Iran to assist the main organizers of this biennial by identifying the strengths and weaknesses of previous editions and facilitating the strategic organization of visual and traditional art biennials to achieve their objectives. For this purpose, analyzing the process of organizing these biennials is necessary. The main research questions are: 1. What are the strengths and weaknesses in the management structure and implementation process of the biennials? And 2. What solutions can be proposed to improve the current process?
Methods: The research method is descriptive-analytical, and the study is based on document analysis and semi-structured interviews with art elites.  
Findings & Results: The results of this study indicate that the Miniature Biennial in Iran has provided a strong foundation for the growth and development of the art of miniature over the past three decades, but despite eleven editions, it still faces numerous structural, managerial, and operational challenges that have limited its effectiveness. The most important strengths and achievements of the miniature biennials include providing a platform for critique and analysis of miniature works, fostering growth and flourishing in miniature art, facilitating the exchange of artists' experiences, enhancing artists’ activities, and improving both the quality and quantity of miniature works. The most important weaknesses in the implementation process and management structure of miniature biennials are lack of a coherent plan and precise vision inconsistency in the organization of the event and in the criteria used for judging and selecting works, dependence on government institutions insufficient cooperation and coordination among responsible institutions, irregular scheduling and prolonged interruptions between biennials, and the absence of a stable financial framework. To solve these problems and challenges, the most important proposed solutions are strengthening the role of the Miniature Association, formal approval of its statute holding transparent elections in which board members are chosen by the majority of the miniature-art community. Furthermore, holding the biennial, determining the judging criteria, the time of holding, etc. should be planned and supervised directly by the Association.