Editorial Fellow Merray Gerges reflects on the the issue’s theme: “Criticism, Again”. What are criticism’s stakes post–Canada 150? And, what are the social politics influencing this work?

Editorial Fellow Merray Gerges reflects on the the issue’s theme: “Déjà Vu”. When we find we are repeating history, what can we do as members of institutions to honour our past but avoid reinventing the wheel?

Editorial Fellow Merray Gerges reflects on the issue’s theme: Ownership. What is the difference between exhibition representation and collection representation? This is the question at the centre of this issue. In this issue, artists and writers discuss the delicate balance between visibility and viability, the long-term impact of exhibitions, as well as the historical value and inextricably colonial exercise of collecting works of art.

Merray Gerges shares Sameer Farooq’s work 70,000 Veils and discusses the artist’s use of veils to highlight what cultural institutions choose to conceal and reveal to their audience.

This article explores how social media, especially “the selfie” and women’s open detailing of their anxieties and sadness is changing the definition of feminist art. The article discusses contemporary artists who have incorporated social media trends into their practices. It also details the various social media activities of the fictionalized “The Anxiety Memer”. This is a generic character based on the phenomenon of girls speaking about their sadness on social media platforms as a means of empowerment. Gerges uses this character to discuss social media feminism’s salubrious potential to destigmatize mental health in art and society.