Feature

**Serena Lukas Bhandar** is a Punjabi Sikh/Welsh transfemme writer and witch based on unceded Lekwungen and W̱SÁNEĆ territories. Her poetry, essays and stories are featured in publications across Turtle Island and beyond, and she sits on the editorial boards of _The Malahat Review_ and _Room Magazine_.

**Kemi Craig** is an interdisciplinary artist of African descent based in the Lekwungen and W̱SÁNEĆ territories. Working through analogue film, video and projections, Craig explores devices of looking to interrogate the simultaneous experiences of past, present and future. 

**Lindsay Katsitsakatste Delaronde** is a Kaniekehaka multidisciplinary artist from Kahnawake with a community land-based arts practice centered in an Indigenous worldview. 

Kim Dhillon is an art theorist and writer. She is working on a book on language, its power, and artists who challenge it in contemporary art forthcoming with Reaktion Books.

**Tarah Hogue** is a curator and writer based on unceded Musqueam, Squamish and Tsleil-Waututh territories/Vancouver, BC. _Ayumi Goto and Peter Morin: how do you carry the land?_ (2018) was her first exhibition as the Vancouver Art Gallery’s inaugural Senior Curatorial Fellow, Indigenous Art. She is a citizen of the Métis Nation with French Canadian and Dutch ancestry. 

Criticism, Again

Representation

Infrastructure

Colonialism

Critique

Criticism

Using Amy Fung’s _Before I Was a Critic I Was a Human Being_ (2019)—a collection of essays about the strained relationship between colonial settlers and their ways of critiquing Canadian art—as the seed for a roundtable discussion, Kim Dhillon, Serena Lukas Bhandar, Kemi Craig, Lindsay Katsitsakatste Delaronde, and Tarah Hogue speculate upon a future void of the traditional, Eurocentric art critique.

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C Mag

Kim Dhillon

What Else Might Be Possible? Towards a Decolonial Criticism