An exhibition of approximately 40 works from the collection of Montreal collectors, Lillian and Billy Mauer. Including photography, paintings and sculptures from this impressive international collection by artists such as
An exhibition of approximately 40 works from the collection of Montreal collectors, Lillian and Billy Mauer. Including photography, paintings and sculptures from this impressive international collection by artists such as by Carrie May Weems, Lorraine O’Grady, John Baldessari, Rosemarie Trockel, Doug Aitken, Tatiana Trouvé, Huma Bhabha, Frank Bowling, Betty Goodwin, and Annette Messager. Often drawn to politically and socially engaged art, the exhibition will present a selection of works which represent the breadth of the collection.
Griffin Art Projects
1174 Welch St
Showcasing Surrey’s own athletes and game-changers alongside national icons, this engaging and interactive exhibit explores Canada’s deep-rooted relationship with its national winter sport. This original Museum of Surrey-curated experience celebrates the
Showcasing Surrey’s own athletes and game-changers alongside national icons, this engaging and interactive exhibit explores Canada’s deep-rooted relationship with its national winter sport.
This original Museum of Surrey-curated experience celebrates the unifying power of hockey, highlighting its diversity, cultural significance, and impact on local communities.
Visitors will also learn about grassroots initiatives, women’s hockey, para hockey, Punjabi broadcasters, and the achievements that shape both local and national hockey culture.
Museum of Surrey
17710 56A Avenue
Exploring Métis-Led Cultural Care
Exploring Métis-Led Cultural Care
Amelia Douglas Institute
13401 108 Ave #300, Surrey
An extended presentation of the Audain Art Museum’s Permanent Collection, From Sea to Sky celebrates the collection’s evolution from its inception in 2016 to the present. Built on the generous
An extended presentation of the Audain Art Museum’s Permanent Collection, From Sea to Sky celebrates the collection’s evolution from its inception in 2016 to the present. Built on the generous donation of over 200 works by Founders Michael Audain and Yoshiko Karasawa, the AAM’s Acquisition Committee has since guided the holding’s expansion through purchase, commission, and donation, to almost 300 outstanding pieces representing the art of British Columbia. Carving, painting, and photography serve as the pillars of the collection, featuring notable works by artists active from the mid-nineteenth to early twenty-first century. Such a display offers a unique visual evocation of the cultural differences that continue to shape BC’s socio-political identity.
From Sea to Sky showcases familiar masterpieces alongside newly acquired and previously archived works of art. These pieces by artists from the province, and those inspired by local environs, are all housed in Patricia and John Patkau’s stunning example of contemporary West Coast architecture. Among the active carvers and photographers of note are Robert Davidson, Dempsey Bob, Jeff Wall, Jin-Me Yoon and Stan Douglas, while paintings by Emily Carr, AY Jackson and BC Binning add a historical dimension to this sweeping display. Works acquired from Karin Bubaš, Rebecca Belmore, and Russna Kaur are indicative of a mid-point in their respective careers and each have also been featured in solo exhibitions at the Museum.
Audain Art Museum
4350 Blackcomb Way
Silent Tides presents quiet, intimate views of British Columbia’s rocky shores, capturing the stillness and subtle movement found at the water’s edge. Through detailed oil paintings developed from
Capture the beauty of the season and turn moments into memories as you paint the Whistler skyline. Explore your creative talent with a local artist, who will guide you through
Capture the beauty of the season and turn moments into memories as you paint the Whistler skyline. Explore your creative talent with a local artist, who will guide you through masterpieces inspired by the local landscape.
Availability: All year round, Monday, Tuesday, Wednesday, Thursday, Friday, Saturday
Time of Day: Morning, Afternoon, Evening
Duration: 2 hours
Four Seasons Resort Whistler
4591 Blackcomb Way,
That Green Ideal: Emily Carr and the Idea of Nature is the largest solo exhibition of iconic British Columbia artist Emily Carr (1871–1945) at the Vancouver Art Gallery in over
That Green Ideal: Emily Carr and the Idea of Nature is the largest solo exhibition of iconic British Columbia artist Emily Carr (1871–1945) at the Vancouver Art Gallery in over twenty years.
Featuring more than 100 works, it explores in-depth the artist’s obsession with the landscape of the Pacific Northwest, using close analysis of her paintings and writings to investigate how she understood nature and her relationship to it. The exhibition argues that Carr’s landscapes exist at the intersection between an experience of nature and an idea about how to transmit that experience through a painting, with the goal of expressing a divine essence in nature. It teases out the tension between individual and local references and the larger ideas and philosophies about nature in Western cultural traditions.
Vancouver Art Gallery
750 Hornby Street
This exhibition shares the importance and depth of art education in the Surrey School District. Participating artists range from grades one through seven. Artworks on display highlight a wealth of
This exhibition shares the importance and depth of art education in the Surrey School District. Participating artists range from grades one through seven. Artworks on display highlight a wealth of subjects, both personal and universal.
Working across mediums such as 3D geometric string art, papier mache, and painting to name a few, Art by Surrey Elementary School Students provides visitors with insights into the critical thinking and visual literacy skills of young developing artists.
Along with the accompanying text, the exhibition demonstrates how teachers connect with BC Education Big Ideas curriculum.
Surrey Art Gallery
13750 88 Ave
Guest curated by Salish artist Eliot White-Hill, Kwulasultun, this exhibition brings together the work of 11 Coast and Interior Salish artists working across sculpture, printmaking, textiles, painting, and mixed media.
Guest curated by Salish artist Eliot White-Hill, Kwulasultun, this exhibition brings together the work of 11 Coast and Interior Salish artists working across sculpture, printmaking, textiles, painting, and mixed media. Together, their practices reveal the deep cultural, linguistic, and artistic relationships that flow across the Salish world.
While institutional narratives have often centered on Coastal Salish art, this exhibition broadens the lens, foregrounding the vital interconnectivity between Interior and Coast Salish communities. In doing so, it challenges the historic marginalization of Salish art within broader Northwest Coast art histories.
At the heart of the curatorial vision is the river, both a living presence and a powerful metaphor, linking land, water, identity, and evolving cultural practices.
The exhibition celebrates Salish art as dynamic, sophisticated, and forward-looking, affirming its place as both culturally essential and artistically visionary.
Featuring influential artists who have paved the way, including Susan Point and Angela Paul, alongside emerging voices shaping the future, this exhibition offers a resonant and timely exploration of continuity, connection, and creative resurgence.
Bill Reid Gallery
639 Hornby Street
Bill Reid Gallery of Northwest Coast Art presents Blossoming, a solo exhibition from Kwakwaka’wakw artist Jamie Gentry, curated by Aliya Boubard, from February 28 – May 24, 2026. After 12
Bill Reid Gallery of Northwest Coast Art presents Blossoming, a solo exhibition from Kwakwaka’wakw artist Jamie Gentry, curated by Aliya Boubard, from February 28 – May 24, 2026. After 12 years of creating moccasins by commission, this exhibition serves as an opportunity for Gentry to implement her handcrafted beadwork based solely on personal inspiration, culminating in a journey of self-discovery and growth, and a gift to create her own joy. The exhibition features a series of handmade moccasins adorned with realistic floral beadwork along with a selection of photographs showcasing the moccasins in the natural environment from which each pair was inspired. A workshop with the artist will be held during the exhibition run, further details to be announced. For admission information and complete event details, visit: billreidgallery.ca
Bill Reid Gallery
639 Hornby Street
This installation reimagines the dragon as a shared myth that transcends geography and culture. Spanning three synchronized screens, Mustaali Raj transforms the dragon’s traditional characteristics into his own distinct visual
This installation reimagines the dragon as a shared myth that transcends geography and culture. Spanning three synchronized screens, Mustaali Raj transforms the dragon’s traditional characteristics into his own distinct visual language.
Through vivid colours and bold geometric patterns, the dragons glide across the boundaries of land, culture, and story. Their shifting shapes invite viewers to reflect on how stories migrate and evolve across cultures.
Surrey Art Gallery
13750 88 Ave
The Polygon Gallery is honoured to organise the largest solo exhibition to date of artist, curator, and scholar Tania Willard. Drawing on her mixed Secwépemc and settler-Scottish ancestry, Willard has
The Polygon Gallery is honoured to organise the largest solo exhibition to date of artist, curator, and scholar Tania Willard. Drawing on her mixed Secwépemc and settler-Scottish ancestry, Willard has developed a collaborative, land-based practice, which attends to the history, present, and future of the land and community. The focus of this ten-year survey is her ongoing experiments with photography, as a technology of both colonisation and decolonisation. Combining new and existing works, and showcasing a broad and inventive array of photographic printing, materiality and presentation techniques, the exhibition materialises the artist’s paradigm-shifting historical scholarship and artistic research.
Willard considers photography as a medium and material that dates back millennia, not centuries. In her words, “Light has been making life, images, shadows, and reflections for billions of years. Those photographs are called stones – geological formations – the grandmothers and grandfathers embodied in the volcanic rocks used in sweat lodges.”
The title Photolithics (combining ancient words for light and stone) calls up Willard’s expansive notion of working directly with the sun’s changing rays, and with varied formations of soil, crystal, metal, and sediment. Throughout, Willard poses key questions about the confines of galleries and museums, juxtaposing these spaces with the forms of Salish basketry and kekuli (pit house) architecture simultaneously ancient and current. For The Polygon, she devises a distinctive treatment for the gallery’s windows, recasting the building as a “lens” and turning the sun’s rays into a “safelight” for future encounters with sensitive historical records. Committed to a practice rather than a fixed appearance, the exhibition will transform as the days lengthen and the weather filters available light.
The Polygon
101 Carrie Cates Court
Hannah Rickards’ artistic practice studies the relationship between perception and experience. Resistant to the construction of narrative, she employs a range of conceptual tools and media to create works that measure
Hannah Rickards’ artistic practice studies the relationship between perception and experience. Resistant to the construction of narrative, she employs a range of conceptual tools and media to create works that measure the limits of language and map conditions of uncertainty in our attempts to discern and describe the world. Rickards’ solo exhibition of new work at the Gibson, I am the infant and I am the bird, is informed by her relocation from London, UK, to an acreage in Syilx Okanagan territory in the interior of British Columbia. Life in this new context, with its markedly different tempo and scent—a rural valley thick with orchards, pastures, and lumber mills, encircled by rocky benchland—invoked a metabolic shift in the artist’s approach.
Rickards’ characteristically spare installation rewards a willingness to slow down: single channel videos capture brief glimpses of hummingbirds recorded in the soft grey light before dawn. A large-scale video work depicts footage gathered over years by an infrared trail camera erected in Rickards’ pasture. Triggered by motion, the camera does not differentiate between the types of activity it detects. Depending upon the duration of their visit, viewers may experience the erratic flight of a moth, a grazing deer that pauses to stare arrestingly at the camera or simply long stretches of wheatgrass nodding in the breeze. A series of photo-lithographic-and-silkscreened prints, created by Rickards using remote viewing—a paranormal practice of perceiving a distant or hidden subject without the aid of the senses—reconsider questions of landscape and place.
In its alertness to the agency of the world, I am the infant and I am the bird shares much with early interpretations of photography. For the first decade of its existence, the photographic image was understood not as “captured” or “taken” but rather as something “received from the world.” As William Henry Fox Talbot observed in an 1839 letter, “It is not the artist who makes the picture, but the picture which makes itself.” While the question of where and how we place our attention has always been fundamental to Rickard’s work, I am the infant and I am the bird invites an uncoupling from contemporary culture’s relentless “attention economy” to allow a consideration of how we might more carefully attend to the world’s ways of revealing itself to us.
Gibson Art Museum
Explore our Museum after hours with Pay-What-You-Can admission every Thursday evening!
Explore our Museum after hours with Pay-What-You-Can admission every Thursday evening!
Be it date-night, an evening of family fun, or your own cultural excursion, step into our galleries and let curiosity be your guide as the stories of North Vancouver come to life under a whole new light
Thursdays, Weekly
Time: 5PM –8PM
Audience: All Ages
Pay-What-You-Can
All drop-ins welcome!
Museum of North Vancouver
115 Esplanade W, North Vancouver, BC V7M 0G7
Marian Penner Bancroft’s work is deeply rooted in an exploration of memory, landscape, colonial history, migration, and identity. Her images often layer personal history with geography, functioning as visual documentation
Marian Penner Bancroft’s work is deeply rooted in an exploration of memory, landscape, colonial history, migration, and identity. Her images often layer personal history with geography, functioning as visual documentation with poetic reflection. The work offers more than just observation—it evokes a sense of emotional and intellectual resonance.
Long Story is a multimedia installation that brings together photographs, videos, wall texts, and sound. The exhibition comprises both new works and selected pieces created between 2000 and the present. Each image and video is linked to the others to reflect the artist’s ongoing engagement with complex questions; questions ranging over a lifetime that are approached from diverse photographic perspectives and tied to a broader thematic investigation.
This exhibition opens space for deep contemplation. It highlights the interconnectedness of histories, places, and people, while embracing complexity. By engaging multiple senses and mediums, Bancroft encourages viewers to reflect on their own relationships with memory, land, and belonging.
West Vancouver Art Museum
680 17th Street, V7V 3T2
Experience Whistler’s most extensive collection of community art all in one place! Discover over 300 original 8 x 8-inch works by established and emerging talent from the Sea to Sky and
Experience Whistler’s most extensive collection of community art all in one place!
Discover over 300 original 8 x 8-inch works by established and emerging talent from the Sea to Sky and beyond. From intricate metalwork and sculptural clay to oil on canvas and mixed media, the Anonymous Art Show showcases an incredible range of styles and disciplines.
The twist? Every piece is displayed anonymously. Spend the afternoon exploring, guessing, and perhaps even recognizing a familiar hand behind the work.
Whether you’re hoping to secure a piece by a sought-after local artist or simply looking for something special to bring your walls to life, the Anonymous Art Show is a rare opportunity to collect affordable original art.
Found a favourite? Art sales begin at our Anonymous Buying Night on April 10.
Maury Young Art Centre
4335 Blackcomb Way
Tupananchiskama: Ancient Andean Cosmovision explores the enduring worldviews of ancient Andean civilizations through nearly 100 exquisite pre-Columbian ceramic, textile, bone and wood works, some dating back more than 2,500 years. These works were collected by former UBC Professor
Tupananchiskama: Ancient Andean Cosmovision explores the enduring worldviews of ancient Andean civilizations through nearly 100 exquisite pre-Columbian ceramic, textile, bone and wood works, some dating back more than 2,500 years. These works were collected by former UBC Professor Alan R. Sawyer and donated to MOA. The Andes are home to some of the world’s most complex cultural traditions, and its knowledge lives on in landscapes, practices, languages, and material culture.
This exhibition highlights Andean cosmovision—a holistic and spiritual understanding of the universe grounded in reciprocity, balance, and the recognition of nature as a living being. Far more than artistic objects, the belongings on display embody relationships between humans, ancestors, and sacred forces.
Tupananchiskama, is a word in Quechua, an Indigenous language of the Andes. It means “until life brings us together again” and reflects an ancestral view of life and death as part of a continuous cycle. In Andean philosophy, death is not an end but a transformation. Through the belongings in this exhibition, visitors are invited to reflect on continuity, resilience, renewal, and the promise of reunion.
Museum of Anthropology
6393 N.W. Marine Drive
Seymour Art Gallery
4360 Gallant Ave, North Vancouver, BC V7G 1L2
Return to Paueru Gai is a retrospective exhibition celebrating 50 years of Powell Street Festival’s art and activism through photographs, videos and installations. Curated by Emiko Morita With financial support from Nikkei National
Return to Paueru Gai is a retrospective exhibition celebrating 50 years of Powell Street Festival’s art and activism through photographs, videos and installations.
Curated by Emiko Morita
With financial support from Nikkei National Museum & Cultural Centre, Powell Street Festival Society, Emily Carr University of Art and Design, and Japanese Canadian Legacies Society.
Nikkei National Museum & Cultural Center
6688 Southoaks Crescent, V5E 4M7
Uncommon Places is a landmark series of photographs by American photographer Stephen Shore (b. 1947, New York, NY). Taken over the course of multiple road trips across North America between
Uncommon Places is a landmark series of photographs by American photographer Stephen Shore (b. 1947, New York, NY). Taken over the course of multiple road trips across North America between 1973 and 1981, this series played a pivotal role in establishing the importance of colour photography as a fine art form.
During his travels, Shore photographed intersections, parking lots, buildings, interiors, landscapes, objects and people, defining a photographic vernacular rooted in everyday Americana. Through Shore’s lens, such seemingly mundane subject matter becomes uncommon—framing, composition, colour, clarity and perspective work together to create a world of compelling images in which we see ordinary matter anew. Shore’s approach to the series is marked by a contemplative, attentive and detached quality, shaped by his use of a tripod-mounted, large-format camera that facilitates precision, sharpness and vivid clarity. Uncommon Places was originally published as a book in 1982.
Following a major gift from the Chan Family of eight hundred and one photographs from the series, the Gallery’s collection is one of the most comprehensive representations of this highly influential body of work held by any museum in the world. Together, these works offer insight into the development of Shore’s photographic approach, as well as the thematic strands, range of subjects and formal concerns that unfold across the series. Alongside iconic images of life on the road, this exhibition foregrounds Shore’s photographs from Canada and highlights his encounters with the people he met along the way who shaped his journeys.
Vancouver Art Gallery
750 Hornby Street
Poiēsis Collective are a group of younger-generation artists whose work is centered in photography and Lens-based art. Aftertaste presents works centered on the active process through which the images we
Poiēsis Collective are a group of younger-generation artists whose work is centered in photography and Lens-based art. Aftertaste presents works centered on the active process through which the images we absorb – and the ways images absorb us – shape our understanding and engagement with the world. The artists in the exhibition explore photography as an act of consumption, desire, and capital, manifested in tourism, advertisement, archives, health care, and photographic material waste.
Pendulum Gallery
885 W Georgia St, V6C 2G2
Launched in 2013, Capture Photography Festival is Western Canada’s largest lens-based art festival. Annually in April, lens-based art is exhibited at dozens of galleries and other venues throughout Metro Vancouver
Launched in 2013, Capture Photography Festival is Western Canada’s largest lens-based art festival. Annually in April, lens-based art is exhibited at dozens of galleries and other venues throughout Metro Vancouver as part of the Exhibition Program, alongside an extensive Public Art Program, an Events Program that spans tours, films, artist talks, and community events as well as an educational partnership with Emily Carr University and Critical Image Forum, The University of British Columbia.
Capture’s vision is to connect Vancouver to the world through lens-based art. The Festival acts as a platform to expand visual literacy through lens-based art; strives to give voice to traditionally underrepresented communities and to present compelling, urgent lens-based art. We aim to connect communities to incite meaningful dialogue between artists, curators, audiences, organizations and institutions. Capture is committed to presenting perspectives from diverse backgrounds and members of underrepresented groups.
Various locations in Metro Vancouver
The Quiet Between explores the contemplative spaces where emotion, nature, and material meet — whether through still life, raw clay vessels, or graphite landscapes. The seed for Kathryn Fullerton’s clay pieces
The Quiet Between explores the contemplative spaces where emotion, nature, and material meet — whether through still life, raw clay vessels, or graphite landscapes.
The seed for Kathryn Fullerton’s clay pieces began during her 2024 residency at Tidal Art Centre in Lund. By responding intuitively to the land and its materials, she began to form hollow spheres from local clay. These closed vessels gradually revealed themselves to her as containers for the generative pulse of life. Over time, the spheres began to open, as the quiet nature of these pieces guided her deeper into the cycles of place. Informed by her residency at Tidal and ongoing research into decolonial methodologies, this work explores what it means to sustain a life-affirming art practice that acknowledges the cultural and ecological implications of making. The process is both ritual and offering. Each act of making, opening, or releasing becomes a meditation on giving and receiving within the community of life.
The Ferry Building Gallery
1414 Argyle Avenue
This important art installation by self-taught artist Kim O’Brien is her first exhibition since we presented ENTANGLED in 2024. ENTANGLED was based on her own personal experience as a patient
This important art installation by self-taught artist Kim O’Brien is her first exhibition since we presented ENTANGLED in 2024. ENTANGLED was based on her own personal experience as a patient in the BC mental health system here in Vancouver and was primarily depicted through life-size sculptures that were felted, stitched, knitted, and sewn.
NICE has been in the making since May 2024.
This is what Kim has to say about the exhibition:
“Although not obviously connected, the catalyst for NICE was a psychiatric misdiagnosis. After my hospital discharge, I was told an antidote about my time in involuntary ‘care.’ Staff told my sister what a ‘nice’ woman I was — ‘your sister is a pleasure to have on the ward.’ That antidote lived in my body as discomfort.
As I learned how to navigate the effects of psychiatric trauma, I continued to bump into my compliance and seemingly agreeable nature while struggling with feelings of personal betrayal. In an effort to understand my impulse of niceness, I began exploring how nice sits in my body. Could I untangle myself from a trait that, until recently, I had perceived as positive? Did I want to?
Despite my reluctance, my inability to forgive myself indicated that I had to, and so began my exploration of nice. This became a deep dive into childhood trauma done in therapy, and an exploration of nice as both a personal and societal pressure within my art practice. What emerged is a series of observations and confessions so deeply personal that I distanced myself by using THE WOMAN to examine my interior. NICE is ultimately a personal journey of understanding and forgiveness.”
A new sculpture by James Harry marks The Polygon Gallery’s seventh collaboration and co-commission with Burrard Arts Foundation. Eye of the Ancestor is a striking yellow cedar wooden sphere, carved
A new sculpture by James Harry marks The Polygon Gallery’s seventh collaboration and co-commission with Burrard Arts Foundation. Eye of the Ancestor is a striking yellow cedar wooden sphere, carved with Coast Salish designs on the surface and holding a mirror-polished stainless steel sphere inside. The composition creates layered reflections and viewpoints that shift with the viewer’s movements around the sculpture. The title of the work draws from Coast Salish visual language, where the eye is a form associated with awareness, presence, and continuity beyond the individual. Harry’s sculpture translates that form into a multiscalar design that enacts a subtle intergenerational choreography, reflecting Indigenous pedagogies wherein knowledge is relational, accumulative, and often revealed incrementally across the arc of one’s life.
The Polygon
101 Carrie Cates Court
Back in February, Wonderwall had its world premiere at The Theatre at Hendry Hall in North Vancouver. This charming, intimate venue was perfect for a first run, and reactions from
Back in February, Wonderwall had its world premiere at The Theatre at Hendry Hall in North Vancouver. This charming, intimate venue was perfect for a first run, and reactions from audiences members went well beyond our expectations. A new play is always a bit of a shot in the dark, as you never truly know what you have until an audience tells you. Fortunately for us, our inbox began to fill up with glowing reviews the same night we held our preview show.
Recently, we decided to hold a second run of Wonderwall at The NEST on Granville Island in April 2026. Our cast will be slightly different, but the show will be staged with all the heart and soul we put into our first run. We hope you will join us.
The NEST on Granville Island
1398 Cartwright St 3rd Floor
THIS Gallery presents Reassembly, a new exhibition by Annie Pei-Hsuan Chen, on view April 17–26, 2026. Through bold forms and refined colour palettes, Chen explores the fluid and reconstructive nature
THIS Gallery presents Reassembly, a new exhibition by Annie Pei-Hsuan Chen, on view April 17–26, 2026. Through bold forms and refined colour palettes, Chen explores the fluid and reconstructive nature of memory. Her compositions—suggestive of architectural structures and puzzle-like arrangements—engage a dynamic interplay between construction and deconstruction, where familiar forms shift and take on new meaning. Balancing structure with spontaneity, her work reflects a personal visual language shaped by both discipline and creative freedom. Opening Reception: Saturday, April 18, 12–4 PM. 108 East Broadway (alley entrance), Vancouver.
THIS Gallery
268 Keefer St
This exhibition brings together diverse practices that challenge the traditional boundaries of photography. Exploring the dynamic intersection of photography, sculpture, and installation, these works ask viewers to encounter photography as something
This exhibition brings together diverse practices that challenge the traditional boundaries of photography.
Exploring the dynamic intersection of photography, sculpture, and installation, these works ask viewers to encounter photography as something to be experienced with the body as much as the eye. Here, photography transcends the flat surface, emerging as a spatial, tactile, and conceptual practice.
By engaging with inventive materials including paper, wood, film, resin, plastic, metal, and found objects, the artists blur the lines between disciplines, transforming the photograph into sculpture, the image into an object, and the wall into space.
In rethinking what a photograph can be, this exhibition invites audiences to see and navigate photographic works in bold new ways.
Cityscape Community ArtSpace
335 Lonsdale Ave
Ser Serpas (b. 1995, Boyle Heights, California) lives and works in New York City and received degrees from Columbia University, New York, and HEAD, Genève. Notable institutional solo exhibitions include
Ser Serpas (b. 1995, Boyle Heights, California) lives and works in New York City and received degrees from Columbia University, New York, and HEAD, Genève. Notable institutional solo exhibitions include presentations at the Kunsthalle Basel, Switzerland; the Pinault Collection, Bourse de Commerce, Paris; and Swiss Institute, New York. Serpas has also participated in group exhibitions at the Rubell Museum, Miami; Aïshti Foundation, Beirut; MoMA PS1, New York; the 2024 Whitney Biennial, New York; the 2024 El Museo del Barrio Triennial, New York; Musée d’art moderne et contemporain Genève; Bonner Kunstverein, Germany; Haus am Waldsee, Berlin; Istituto Svizzero, Rome; Centre d’Art Contemporain Genève; Hammer Museum, Los Angeles; Punta della Dogana, Venice; and Kunsthalle Fribourg, Switzerland. Serpas has a solo exhibition upcoming at Kölnischer Kunstverein, Germany.
Contemporary Art Gallery
555 Nelson Street
Rafik Greiss (b. 1997) is an Egyptian artist based in Paris working across photography, installation and time-based media. His practice reflects on transformation, memory and the shifting states of images
Rafik Greiss (b. 1997) is an Egyptian artist based in Paris working across photography, installation and time-based media. His practice reflects on transformation, memory and the shifting states of images and objects through a formally and technically diverse approach that moves between digital and analogue processes. Often described as atmospheric, provocative and sensual, his work is driven by what Mitchell Anderson calls a “commitment to sensation rather than theme or medium.” His work has been shown in solo exhibitions at Balice Hertling, Paris (2024, 2021), as well as in group exhibitions at the Istanbul Biennial (2025); Simian, Copenhagen (2025); Kunsthalle Zürich (2024); and the Swiss Institute, New York, with Ser Serpas (2023). His work is held in collections including the Whitney Museum of American Art, New York; Pinault Collection, Paris; Louis Vuitton Collection, Paris; and Lafayette Anticipations, Paris.
Contemporary Art Gallery
555 Nelson Street
Douglas Watt (b. 1990, St. Catharines) is an artist living and working in Vancouver’s Davie Village on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations.
Douglas Watt (b. 1990, St. Catharines) is an artist living and working in Vancouver’s Davie Village on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. He holds a BA (Art History) from Carleton University, Ottawa; an MFA from Simon Fraser University, Vancouver; and was a visiting student in Criticism & Curatorial Practice at OCAD University, Toronto. He has presented solo exhibitions at Unit 17, Vancouver (2019), Tara Downs, New York (2021), and Pumice Raft, Toronto (2024). His work has been featured in Artforum and BlackFlash Magazine. Watt co-edits the publication Porthole with Hamish Hardie.
Contemporary Art Gallery
555 Nelson Street
Paul Kyle Gallery is pleased to present Echoes, our second exhibition with
Paul Kyle Gallery is pleased to present Echoes, our second exhibition with Amsterdam-based artist Daniel Mullen, opening April 18, 2026. This new body of work is structured for slow looking. The paintings read differently across distance and proximity, allowing perception to adjust as the viewer moves through space.
“Echoes is a proposition through painting that aims to hold perception open.” What first appears as a field of light gradually discloses its architecture, and the material facts of the painting—linen, pressure, and deposit—continue to produce an image that behaves like light. The work returns as after-image anddelayed clarity, shifting the boundary between surface and space.
Mullen develops each painting through a fixed framework governing tone, spacing, pressure, and chroma. While the framework remains consistent, it is continually tested and recalibrated, allowing outcomes to diverge from one painting to the next. Linen plays an active role in this process: paint embeds into the weave, and colour oscillates between material presence and optical effect.
Within the paintings’ internal architecture, light enters, slows, and gathers; colour follows as trace and consequence. As viewers move closer, structure becomes increasingly legible, and orientation begins to shift. The work functions like “an epilogue encountered without its narrative—an after-effect that establishes tone while the event itself remains elsewhere.” Held between surface and space, the paintings extend the encounter beyond the canvas.
Gallery hours are Tuesday through Saturday, 11:30 am to 5:00 pm, or by appointment.
Paul Kyle Gallery
Surrey Art Gallery is pleased to announce the exhibition In the Shadow of the Pavilions: Expo 86 and Contemporary Art that will run from April 18 to June 7, 2026.
Surrey Art Gallery is pleased to announce the exhibition In the Shadow of the Pavilions: Expo 86 and Contemporary Art that will run from April 18 to June 7, 2026. The public reception and launch will take place Saturday April 18 from 6-9pm. Admission to the exhibition and reception is free.
Across numerous pavilions, multiple outdoor plazas, and within various museums and public galleries around the Lower Mainland, Expo 86 brought together a wide variety of artists and artworks from across Canada and around the world. At the same time, the world’s fair attracted a wide range of parallel art exhibitions and initiatives. On Expo’s 40th anniversary, In the Shadow of the Pavilions: Expo 86 and Contemporary Art highlights some of the extraordinary art from around British Columbia’s Lower Mainland during Canada’s second world’s fair moment.
Surrey Art Gallery
13750 88 Ave
Simranpreet Anand’s latest body of work weighs the spiritual significance of sacred materials against the costs and modes of their mass production. Working from a Sikh perspective, her installation of
Simranpreet Anand’s latest body of work weighs the spiritual significance of sacred materials against the costs and modes of their mass production. Working from a Sikh perspective, her installation of ceremonial fabrics, lenticular prints, and embroidered photographs considers the notion of the “eternal” in terms of religious significance, as well as the synthetic nature of products manufactured to last forever. Collapsing commercial and domestic spaces, her exhibition at The Polygon Gallery will feature a living room — with custom wallpaper, a couch, and a television — beside the Gallery’s gift shop, probing multivalent ideas of worship, value, and sustainability in the 21st century. Anand was the winner of the 2023 Philip B. Lind Emerging Artist Prize.
The Polygon
101 Carrie Cates Court
The 2025–2026 season closes with one of opera’s most enduring love stories, set in the world’s most romantic city, rendered with the most vibrant characters and melodies. Puccini’s masterpiece transports
The 2025–2026 season closes with one of opera’s most enduring love stories, set in the world’s most romantic city, rendered with the most vibrant characters and melodies. Puccini’s masterpiece transports us to the heart of 1830s bohemian life in Paris, where love blossoms amidst dreams, hardships, and the unyielding pursuit of artistic freedom.
La Bohème has remained one of the most beloved and frequently performed operas worldwide since its 1896 premiere, due in large part to captivating pieces like “Quando m’en vo”, a.k.a. “Musetta’s Waltz”, and perhaps the most famous duet in opera, “O soave fanciulla”, sung on that moonlit moment when Mimì and Rodolfo fall in love.
In a bustling community of artists, students, philosophers, and Quartier Latin café denizens, the deep connection between the young poet Rodolfo and the seamstress Mimì is eventually tested by the bittersweet passage of time and the emotional toll of illness and poverty.
VO Music Director Emeritus Jonathan Darlington returns to conduct some of the most romantic and iconic music in opera history, while Pacific Opera Victoria Artistic Director Brenna Corner crosses the Salish Sea to direct a stunning international cast. Whether you’re discovering it for the first time or returning to a beloved classic, La Bohème speaks passionately to the soul, reminding us to cherish the fragility and fleeting beauty of life and love.
Queen Elizabeth Theatre
630 Hamilton St
