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“If a modern nation is understood as an imagined community unified by specific traditions and institutions that affirm that community’s belonging, then whose ‘national’ gallery is the NGC, when many of us are excluded, and when we do not see ourselves reflected on its walls?”

Publication: “Whose ‘National’ Gallery? Representation at Canada’s Premier Art Museum,” Vie des arts (January 23, 2024).


Keywords: art, contemporary, modern, artists, institutions, museums, art, culture, National Gallery of Canada, Canadian, conservative, politics, exclusion, control, gatekeeping, discrimination, violence, representation, inclusion, diversity, equity, Indigenous, decolonization, self-determination, sovereignty, First Nations, Inuit, Métis, African, descent, heritage, Black Lives Matter, movement, Arab, Muslim, immigrants, immigration, Islamophobia, racialized, underrepresented, underserved, marginalized, historically, oppressed, communities, social, justice, belonging, collections, exhibitions, displays, curatorial, strategy, museological, practices, scholarship, European, Western, non-Wester, other, colonial, Eurocentric, narratives, art, history, critical, theory, post-colonial, studies, global, international, Southwest Asia (”Middle East”), North Africa, Baghdad, Iraq, Ottawa, Ontario, unceded unsurrendered Territory Anishinaabe Algonquin Nation, Gatineau, Quebec, Canada, United States of America, USA, North America

Image: National Gallery of Canada and Vie des arts