On view now at the Contemporary Calgary inside its planetarium is The Desert Turned to Glass, an ambitious and pivotal exhibition by acclaimed Canadian artist Charles Stankievech.

The AGO’s first-ever youth-produced web series – Inner Space – is back with a brand new season.

The architectural designs of museums are often created with a high degree of artistic consideration – much like the priceless collections they house. Among the most impressive contemporary structures in the world, museums tend to offer a striking, complex and often abstract addition to the architectural climate of their respective cities.

On March 29 at the AGO, four Indigenous hip-hop artists -- DJ Kookum, Eekwol, JB the First Lady and T-Rhyme -- are set to take the stage in Walker Court for what promises to be an energetic evening of storytelling and performance. Indigenous Women in Hip-Hop: A Night of Performance and Storytelling

Previously on view at the AGO through January 2023, What Matters Most: Photographs of Black Life enshrines the role of the family photograph in shaping Black identities. Co-curated by artist Zun Lee and AGO Curator, Photography, Sophie Hackett, the exhibition of over 500 instant prints drawn from the AGO’s Fade Resistance Collection underscores the moments that matter most in the everyday – births, deaths, portraits, graduations and family gatherings among them.

One of the most evocative contemporary artists working today, Meryl McMaster, invites visitors on a journey through her career so far with her latest solo exhibition Bloodline at the McMichael Canadian Art Collection

After a successful opening run last year at the MacKenzie Art Gallery in Saskatchewan, the landmark exhibition of contemporary Indigenous beadwork – Radical Stitch – is on the move.

With his dynamic video installation Theatrum Orbis Terrarum (Theatre of the World), Mohawk contemporary artist Alan Michelson uses the power of juxtaposition to exemplify the impact of colonization while celebrating Haudenosaunee ways of knowing.

Canada’s extensive Black history has often been subject to erasure – not necessarily in the public record, but in the public consciousness. Uncovering these important stories not only helps Black communities feel directly tethered to their ancestors, it reinforces the deeply rooted sense of belonging and self-determination needed to confront ongoing injustices. Trinidadian-Canadian artist Anique Jordan’s Mas’ at 94 Chestnut proves that digging up forgotten legacies is the work of both archeologists and artists.

In January of 1913, Contemporary Scandinavian Art, a travelling exhibition organized by the American-Scandinavian Society, arrived in Buffalo, New York. Among the 176 works featured, seven were by the Swedish artist Anna Boberg, the sole woman artist in the entire exhibition.