Flora May’s Response to Njiknam (My Younger Brother)
A Reflection on the work of Xenia Laffely, by Larry Weyand
Mustard, Popsicles, Drano: Kevin Melanson on the work of Shannyn Reid
I Feel, Therefore I Can Be Free: Musing on the Art as a Tool for Change Project, by Curator Bushra Junaid
Attuning to the Sonics of Revolt. A response to Violet Drakes’s artwork in the exhibition, Between Here and There. By Kate Lahey
Structural Slippage: A Response to Between Here and There, by Daze Jefferies
Art as Protest, Protest as Art: Ceilidh Munroe on the Art as a Tool for Change Project
Art as Seeds for Action and Change, an approach by Aram Han Sifuentes
Murals for Essential Workers: Service, The Foundation of Community by Matthew Nelder
Exhibition text for Holding Place: Close for Comfort. By Jane Walker
Exhibition Text for Heather Jackman’s ‘Steadfast’ | Kristen Lewis
Exhibition Text for Bruno Vinhas ‘When it Stopped’ | Robyn Love
Molly Margaret’s Micro-process for Mini Homes | Flora May
One administrators’ minutia is another artists’ matter by Jordan Snyder
Essay on Nasim Makaremi by Rhea Rollman
Putting up for winter: the work of Nicole Travers by Melissa Barbeau
Funk Dance For Self Defence, exhibition text by Andrea McGuire
INFESTATION, exhibition text by Terry Doyle
(em)brace, a response by Jane Walker.
Hole in the Dark: Archiving Queer Performance. By Micheal Connors Jackman.
Queer City Cinema – A Little History. Essay by Gary Varro
Trans Women’s Archives in Fishy Fragments. Essay by Daze Jefferies
A Hole So Big It Became the Sky. Essay by Cory W. Thorne
Response to Diary of a e’pite’ji’j: hypervigilant love + Big ‘Uns. By Emily Critch.
A Reflection on Komqwejwi’kasikl. By Hannah Morgan.
Reading Close: Joshua Vettivelu and legibility in absence. By Kailey Bryan.
Arbitrary Lines: Refugee Law in Canada 1986 – 2012. By Gobhina Nagarajah.
Visiting: Logan MacDonald A Response by Emily Critch.
Where Art and Science Meet: Emily Jan. By Gloria Hickey.
A reflection on, tet; mâni; ute | here. By Joanna Baker.
PEJIPUK |the winter is coming: Meagan Musseau. Keeping traditions alive in a modern age, from sweetgrass to plastic. By Jason Wells.
Intentionality: A response to Logan MacDonald’s exhibition, The Lay of The Land. By Camille Georgeson.
islandness, a living experiment: a Written overview by Hannah Morgan.
Fungible Materialism: Heather Goodchild & Naomi Yasui, ‘Last is First’ at Eastern Edge. By Katie Bethune-Leamen.
L’nui’sultinej, Let us Speak Mi’kmaq: Jordan Bennett and Ursula Johnson’s Mi’kmaq Word of the Day 2.0. By John Jeddore.
‘WORDS OF RESISTANCE’: Jordan Bennett, Ursula Johnson and the potency of language. By Craig Francis Power.
The Space Between: Steven Beckly’s ‘A tender touch can bend the straightest of things’. By Mireille Eagan.
Supernatural Entanglements and the Politics of Visibility by Marissa Largo
How to Chop an Onion / Anna Hawkins by Nancy Webb
Loving and Leaking: Katie Bethune-Leamen’s Cute Blobs by Saelan Twerdy
Coco Guzman – Los Fantamas/ The Ghosts by Paulie McDermid.
Jamie Ross / Jade Yumang exhibition essay by Sholem Krishtalka.
Kandis Friesen and Sarah Pupo – DOUBLETAKE by Sarah Smellie
A response to It’s The Media Not You by Sara Tilley
Jacinthe Robillard – l’étendue de mes connaissances exhibition essay by Anne-Marie Proulx.
Those with everything, still have everything by Jason Penney
One Night Stand exhibition essay by Jennifer Dyer.
Modular Meaning, The art of Andrée-Anne Dupuis Bourret by Gloria Hickey
The Cyborg Epiphany of Pascal Dufaux by Zach Pearl.
Syncopated Histories by Amber Berson.
The Self-Aware Stage-craft of Robert Hengeveld’s Living Sculptures By Kelly Jazvac.
Another Story of Erasure, a Different One by Sophia Bartholomew.
A response to Kyle Whiteheads Circles of Confusion by Carl Spencer.
A response to Anna Williams Dark Timber by Kailey Bryan
A response to Chris Fosters Frontiers in Real Estate by Kate Walchuk.
The games of art: The art of games by Susan Cahill