Over 1,300 events are staged in hundreds of venues, which include work in a huge variety of performing and visual art forms.

[6] Sandy Verschoor was CEO 2006–2010,[7] while Christie Anthoney filled the post of director from when the Fringe went annual in 2007 to 2010; and Karen Hadfield for the 2004 and 2006 festivals.

[1] "Mad March" is a term used by locals to describe the period of five big events running concurrently in the local calendar: the Adelaide Festival of Arts (a three-week festival starting a week after the Fringe), which includes Adelaide Writers' Week and the four-day world music festival WOMADelaide, as well as the Adelaide 500 street circuit motor racing event, with accompanying its evening music concerts.

The festival includes contemporary work in a wide range of art forms including cabaret, comedy, circus and physical theatre, dance, film, theatre, puppetry, music, visual art, magic, digital and interactive and design.

years, with a number of initiatives included to try to ensure that as many venues and events are able to be attended by people of all abilities.

There are three main venue hubs: Some of the permanent establishments regularly hosting Fringe events have included the Holden Street Theatres (a converted church precinct turned venue in Hindmarsh), Tandanya National Aboriginal Cultural Institute, Bakehouse Theatre (a performing arts space in the CBD), The German Club in Flinders Street, The Rhino Room (a local comedy club), the Odeon Theatre, Norwood and the National Wine Centre (a convention centre with wine bar and restaurant).

[42] In 1962, the number of unofficial local events and exhibitions grew to the point where, according to a thesis by Martin Christmas, "1962 appears to have been the Festival where it was recognised that 'ancillary' (fringe activities), were as important as the core cultural activities", and Max Harris wrote an article entitled Adelaide’s Two Festivals.

Significant productions of two Patrick White plays, The Ham Funeral and Night on Bald Mountain, staged by local performers in 1961 and 1964 respectively after being refused by the main Festival, served to cement the status of what started being referred to in the press as "Fringe" events.

[49] In 1975 the fringe became an incorporated association, and thus "legal", with writer and director Frank Ford as its founding chairman.

[10] The change of name caused some controversy at the time, but the reason was reinforce the notion that Focus was not a cultural cringe.

The inaugural Opening Night Hindley Street Party was thrown, and patron Don Dunstan called on the state government to provide more funding.

[10] In 2006 South Australian Premier Mike Rann announced that the Adelaide Fringe would receive extra government funding (totalling $2 million) to enable it to become an annual event from 2007 onwards.

[60][10] In 2007, the Adelaide Fringe became an annual event, after receiving funding from the state government of A$500,000, which was deemed a success.

The final box office income was estimated to reach over A$5.3 million, the majority of which was passed back to Fringe artists.

2,800 artists featured in 250 venues across the city, in 508 comedy, theatre, music, dance and visual art shows.

[71] CEO Greg Clarke launched the event not only in Adelaide, but also at the Sydney Opera House and in Federation Square in Melbourne.

[72] In 2013, after a boost in government funding, Fringe was extended to run for a 4-week period, commencing Friday 15 February.

[10] In 2014, the festival ran for 30 days and nights from 14 February until 16 March, and brought together over 4,000 artists from around Australia and the world.

[80] British comedian Alexis Dubus vowed not to perform in future Adelaide Fringe Festivals, citing his reason as the festival being driven by larger venues, which attract crowds who buy drinks instead of show tickets, leading to poor ticket sales and cancellations for shows.

)[84] In April 2016, the "Made in Adelaide" initiative was announced by the state government, which provided funds totalling A$55,000 to support nine acts taking their work to the Edinburgh Fringe, to help build connections between the two festivals.

[87][88][89] In November 2016, CEO Croall spoke of the need for better marketing to attract more tourists, and ways to help ensure that artists received a decent share of income.

[91] While the 2020 Fringe was the first in years to see a decrease in the number of registered events ("over 1200", compared with 1320 in 2019),[92] the events were more widely spread, with half of the venues outside Adelaide city centre, including both suburban and regional locations such as Stirling, Gawler and Murray Bridge.

[93] The last weekend of the festival was somewhat impacted by the COVID-19 pandemic in Australia, although government rules on social distancing and travel did not start until the following week.

[94] Dates were announced for the 2021 Fringe (19 February – 21 March), but future planning was hampered by uncertainty caused by the global pandemic and consequent greater financial risk to performers and venues.

[96] It proved to be the largest arts festival in the world in both 2020 and 2021, with South Australia not as badly affected as many places by the pandemic.

[100] The 2018 mascot was inspired by the winning poster of that year, featuring a multi-coloured dog made of balloons, with a crown, created by Sydney graphic designer Jacqueline Daniel.

[102][103] Winners: Since 2007, the Adelaide Fringe holds an annual competition to select the cover art for the festival's guide, website, posters and general branding.

[116][117][118] The City of Adelaide, The Advertiser, 9News are also among the partners of the Fringe, and corporate and private donors help to support specific initiatives for artists.