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Harold Edgerton, Diver, 1955; printed 1984–90. Dye transfer print, 50.8 x 40.6 cm. Gift of Rose Baum and Family, David Feldman, The Menkes Family, Shabin and Nadir Mohamed, Marc and Alex Muzzo, David Ross, Felicia Ross, Gretchen Ross and Victoria Ross, 2021. 2021/1312.

Harold Eugene Edgerton. Diver, between late 1950s and late 1980s. Dye Transfer print, Overall: 50.8 × 38.9 cm. Art Gallery of Ontario. Gift of Rose Baum and Family, David Feldman, The Menkes Family, Shabin and Nadir Mohamed, Marc and Alex Muzzo, David Ross, Felicia Ross, Gretchen Ross and Victoria Ross, 2021. © 2010 MIT. Courtesy of MIT Museum. Photo: AGO. 2021/1312

PAST
EXHIBITION

Collective Visions: Celebrating 25 Years of Photography

November 8, 2025 - May 10, 2026

Level 1 in Gallery 128 & Gallery 129

EXHIBITION OVERVIEW

In 1984, for its first major exhibition of photography, the AGO relied on loans from local collectors. In a jubilant reversal, on the occasion of the department’s 25th anniversary, the museum presents this exhibition drawn from the rich collection the AGO has since built, featuring artworks chosen by the community that has helped it flourish.

In a departure from traditional curatorial models, Collective Visions: Celebrating 25 Years of Photography is shaped by more than 80 artists, collectors, donors, curators, community leaders, and scholars, beginning with a selection by Curator Emeritus Maia-Mari Sutnik. Structured as an “exquisite corpse”—the collaborative game popularized by the Surrealists in the 1920s—each participant selects a photograph in response to the previous choice. Unfolding image by image, the exhibition reveals a web of relationships, sensibilities, and perspectives, offering a living portrait of photography’s evolving place in Toronto’s cultural landscape.

Organized by Sophie Hackett, the AGO’s Curator of Photography, Collective Visions: Celebrating 25 Years of Photography aims to highlight the breadth of the AGO’s photography collection, representing a diverse range of artists, artistic genres and approaches, subject matter, and materials. Accompanied by responses from the participants, the works on view offer a rich and varied perspective on the medium of photography.

 

Download the Exhibition Guide (PDF 698 KB)


PEOPLE'S CHOICE

Thank you to everyone who participated and who helped select the concluding artwork for Collective Visions: Celebrating 25 Years of Photography.

Responding to Shelley Niro’s exuberant, layered family portrait (Untitled) 1991, the public considered the following three artworks:

 

 

Shelley Niro, Untitled

Shelley Niro, Untitled, 1991. Collage: gelatin silver prints, some with applied colour, mounted to drilled board, 152.4 x 101.6 cm. Purchase, with funds from the Indigenous and Canadian Curatorial Committee Fund and from the Photography Curatorial Committee Fund, 2025 © Shelley Niro, courtesy Stephen Bulger Gallery. Photo: AGO

Select from one of these three artworks

Jaromir Funke. Abstraction

Jaromir Funke. Abstraction, 1925–1930. Gelatin silver print, 23.1 × 29.2 cm. Art Gallery of Ontario. Malcolmson Collection. Gift of Harry and Ann Malcolmson in partnership with a private donor, 2014. Photo © AGO. 2014/550

Jaromir Funke. Abstraction

Created solely with paper and refracted light, Abstraction showcases Funke’s skill with conjuring a new world.  

Kelani Abass, Scrap of Evidence, Ayajo

Kelani Abass, Scrap of Evidence, Ayajo, 2021. Inkjet prints, oil on canvas, cornerstone, rubber block, 30 × 35 cm. Purchase, with funds from Friends of Global Africa & the Diaspora, 2022. © Kelani Abass. Photo: AGO. 2022/7085

Elaine Ling, Baobab #5

Abass built this assemblage using studio portraits and objects from his family’s printing press, a meditation on time, technology, and what we inherit.

Elaine Ling, Baobab #5, Mali,

Elaine Ling, Baobab #5, Mali, 2015. Platinum/palladium print, 45.6 × 57 cm. Art Gallery of Ontario. Anonymous gift, 2017. © Estate of Elaine Ling. Photo: AGO. 2017/68.1

Kelani Abass, Scrap of Evidence

Toronto-based photographer Ling rendered this ancient baobab —the “tree of generations” —in platinum’s timeless soft greys, edged with detail from her Polaroid negative. 

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