This is the best summary I could come up with:
But then the AGO launched a fall programme in which the three principal exhibitions feature work by white male Americans, and parted company in November with Wanda Nanibush, a trail-blazing Indigenous curator.
Apparently, Nanibush left because the AGO could no longer make space for her vocal political opinions, which most recently included social-media support of Palestinians in the current Hamas-Israel war.
Like the situation with Hill, who left in a disagreement over how reconciliation should be served at the National Gallery, Nanibush’s departure reveals how difficult it is to bring outspoken changemakers into venerable museums.
Can anyone remember the last time that art made by a heterosexual white man was shown in the large 4th floor exhibition space, where the gallery has in recent years featured the work of Yayoi Kusuma, Mickalene Thomas and Denyse Thomasos?
Meanwhile, the entire Zacks Pavilion, home to many a classic blockbuster, has been devoted to the magazine work of American photographer Arnold Newman, known for his celebrity and corporate portraiture in the second half of the 20th-century.
The only major gallery space devoted to a local artist features a retrospective of veteran Sarindar Dhaliwal, a Canadian woman of South Asian extraction.
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