Since you currently can’t be there in person, here’s one way to experience the Museum of Vancouver’s Haida Now exhibition. Learn about the work with Guest Curator Kwiaahwah Jones, MOV Conservator Fiona Hernandez and Collections Associate Paola Merkins.
Main image provided by the Museum of Vancouver
Jim Lambie transforms everyday architectural spaces into immersive, energetic experiences through his vibrant vinyl tape installations. These site-specific works are an extension of his acclaimed Zobop series, which uses brightly coloured strips
Jim Lambie transforms everyday architectural spaces into immersive, energetic experiences through his vibrant vinyl tape installations. These site-specific works are an extension of his acclaimed Zobop series, which uses brightly coloured strips of industrial vinyl tape to contour the architectural space, wrapping its form in optical rhythm and vivid saturation.
Lambie is a Glasgow–based artist, DJ and musician. His practice draws from pop culture, music and Minimalism, and he often uses inexpensive, ready-made materials. In the Zobop works, which date back to the late 1990s, he meticulously applies tape in concentric patterns that respond to and amplify the geometry of the space. The effect is both playful and disorienting—simultaneously flattening and deepening the visual field.
Installed directly onto the stairs and floor of the Gallery’s Rotunda, Zobop (Colour-Chrome) (2019) blurs the boundaries between sculpture, installation and drawing. The works activate the act of moving through space, turning the mundane journey up or down a stairwell into a psychedelic, performative experience and radically shifting how we understand place—in this iteration, the Gallery’s architecture.
Vancouver Art Gallery
750 Hornby Street
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
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
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
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
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
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
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
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
Items explores the notion of value around objects commonly seen as valueless. Visual artist, Adrian Duchateau collects useless and meaningless items to reconfigure their value by forcing them to withstand
Items explores the notion of value around objects commonly seen as valueless. Visual artist, Adrian Duchateau collects useless and meaningless items to reconfigure their value by forcing them to withstand a pristine aesthetic canvas. These images aim to build a poetic or fantastic narrative around the objects to convey different feelings and/or stories for the spectator, thus increasing the appreciative value of such meaningless objects. Duchateau’s photographic exercise requires some sculptural and installation work that only exists through photography, as these objects can only be appreciated because they exist through the photographic medium.
Every day consumption is surrounded by disposable items which become trash once their one-time instant use is fulfilled. These items are a burden for the planet and its invaluable resources due to their mass production and immediate disposal. Single-use objects are deemed meaningless due to their single-use nature, but their existence and overly common use are a statement of society’s unsustainable consumption, which disregards the impact on (and the needs of) the ecosystem that sustains all life.
Items seeks to be an evaluation of what can be appreciated as valuable. If meaningless objects or discarded trash can become an aesthetic experience, then there can be a shift in our perspective about what we cherish. This possibility extends to our capability for cultural change that can modify the established consumption order that has our world on the brink of irreversible damage.
Into the Garden brings together a body of work that explores transformation and enchantment. Drawing from the garden as a site of both control and wildness, the works
Western Front is pleased to present Magic Show, a solo exhibition by Vancouver-based artist Rosamunde Borde. The exhibition brings together raw metal cast, woodburned, glass blown, and sewn objects, alongside
Western Front is pleased to present Magic Show, a solo exhibition by Vancouver-based artist Rosamunde Borde. The exhibition brings together raw metal cast, woodburned, glass blown, and sewn objects, alongside video. These forms resemble clues or musical instruments, positioning the figures of the detective and the magician as corresponding frameworks for making meaning through intuition and association, iteration and sleight of hand.
Western Front
303 East 8th Ave
The Ferry Building Gallery and the West Vancouver Memorial Library are proud to present Soundscapes, an exhibition featuring new work by Jane Adams. In an era shaped by an ever-expanding digital
The Ferry Building Gallery and the West Vancouver Memorial Library are proud to present Soundscapes, an exhibition featuring new work by Jane Adams.
In an era shaped by an ever-expanding digital landscape of shifting influences and opinions, Jane Adams offers a deeply personal and reflective body of work grounded in memory, music, and lived experience.
Her latest paintings draw from intimate reflections on home and studio life, as well as her years collaborating with her mother, the distinguished Canadian composer Jean Coulthard (OC, OBC). Together, they created illustrated music books for Royal Conservatory students and developed costuming for Coulthard’s opera adaptation of The Return of the Native. These formative collaborations continue to resonate within the artist’s practice.
The exhibition features Image Astrale I and Image Astrale II, abstract works inspired by Coulthard’s piano composition of the same name. Described musically as a “tone cluster,” the composition evokes vastness and layered intensity — qualities that the artist translates into painterly form. The canvases become meditations on the immensity of the universe, rendering the incomprehensible through tonal abstraction.
As a mature artist, this exploration of cosmic scale and musical structure represents a natural progression in her practice. Additional works in the exhibition further reflect her engagement with musical ideas drawn from both personal history and the broader canon of composers. Through abstraction, memory, and sound translated into visual form, Jane invites viewers into a contemplative space where music and painting converge.
Soundscapes is presented in partnership with the West Vancouver Memorial Library. The exhibition will be on display in the library exhibition space and at the Ferry Building Gallery.
The Ferry Building Gallery
1414 Argyle Avenue
We’re thrilled to welcome you to Vapes & Butts, a solo exhibition by Michelle Leone Huisman, on view at Gallery 881 from May 6 to June 6, 2026. Huisman’s work
We’re thrilled to welcome you to Vapes & Butts, a solo exhibition by Michelle Leone Huisman, on view at Gallery 881 from May 6 to June 6, 2026. Huisman’s work explores memory, consumption, and environmental narratives through striking macro photography and historic palladium printing.
Gallery 881
881 East Hastings
Todd Clark is a self-taught Canadian abstract painter known for his bold, vibrant compositions that explore light, color, and mark-making through an intuitive dialogue with the canvas. Born in 1963
Todd Clark is a self-taught Canadian abstract painter known for his bold, vibrant compositions that explore light, color, and mark-making through an intuitive dialogue with the canvas. Born in 1963 and based in Gibsons, BC, Clark balances spontaneity with intentional decisions, allowing unexpected moments to emerge and infuse his work with energy, texture, and emotional depth. His paintings often feature hot colors, layered surfaces, and a sense of joyful discovery that invites viewers into a space of freedom and possibility.
Between Walks, his upcoming solo exhibition at Ashdale Gallery in North Vancouver, presents a fresh body of work that captures this dynamic process—pieces alive with impact, emotion, and liberated expression. The show highlights Clark’s ability to transform raw exploration into compelling visual narratives, offering collectors vibrant abstracts that resonate on both personal and contemplative levels. This new partnership with Ashdale Gallery marks an exciting chapter for the artist in the vibrant North Shore arts scene.
The exhibition opens an invitation to pause, reflect, and engage with art born from the spaces between everyday journeys.
Ashdale Art Gallery
#113 - 175 West 3rd Street
Featuring artwords by Terese Blaklokke, Hannah Bricknell, Vanessa Carle, Bryony Dique, Angel Gunn, Yona Hazen, Claudine Loquen, Daniel Milanese, Cristian Olea, Denise Sherman, Carly Thomas, and Amanda Walker
Featuring artwords by Terese Blaklokke, Hannah Bricknell, Vanessa Carle, Bryony Dique, Angel Gunn, Yona Hazen, Claudine Loquen, Daniel Milanese, Cristian Olea, Denise Sherman, Carly Thomas, and Amanda Walker
The Arts Council of Surrey has been organizing this annual open-juried exhibition in partnership with the Gallery. A team of community jurors comes together to select artworks that demonstrate originality
The Arts Council of Surrey has been organizing this annual open-juried exhibition in partnership with the Gallery. A team of community jurors comes together to select artworks that demonstrate originality and skill. Prizes are awarded across five categories: painting; drawing, printmaking, and mixed media on paper; sculpture and fiber art; photography; and digital, performative, and new media art. The artworks are displayed throughout Surrey Arts Centre, and visitors are invited to vote for the People’s Choice Award.
Surrey Art Gallery
13750 88 Ave
Fazakas Gallery is pleased to present Re-counting Coup, the first solo exhibition in British Columbia by Matthew Provost Naatsikapamatoosin (Two Smudge), an artist from the Piikani and Kainai Nations (Southern
Fazakas Gallery is pleased to present Re-counting Coup, the first solo exhibition in British Columbia by Matthew Provost Naatsikapamatoosin (Two Smudge), an artist from the Piikani and Kainai Nations (Southern Alberta), part of the Siksikaitsitapi (Blackfoot Confederacy).
Two Smudge’s practice explores how Siksikaitsitapi knowledge systems persist and adapt within contemporary contexts. Working across painting, material interventions, installation, and hanging mobile sculpture, he engages histories of mark-making, land, and value to consider how cultural knowledge is carried forward.
The exhibition’s title draws on the Blackfoot practice of counting coup, a Plains Indigenous tradition in which warriors demonstrated bravery through close physical proximity to an opponent—touching rather than killing. Emphasizing risk, precision, and restraint, the act held deep social and cultural significance.
In Re-counting Coup, Two Smudge reinterprets this gesture through his materials and process. Painting over maps and financial documents such as cheques—tools historically tied to colonial systems of land and economy—he disrupts their authority without fully erasing them. These works function as acts of “re-counting,” where layered marks assert presence and challenge imposed structures.
This approach connects to earlier visual traditions, including winter counts—pictorial records used by Plains Indigenous communities to mark significant events—and the later development of ledger art in the 19th century. While Ledger Art often emphasizes figuration and narrative, Two Smudge departs from these conventions. His compositions draw from the painted visual language of Niitoyis (lodges), where surface, structure, and meaning are intertwined. While the works may appear abstract, they are built through a Blackfoot visual vocabulary—circles, lines, and geometric forms that reference stars, celestial systems, and relationships to land.
Niitoyis remains central to the work. Beyond a formal reference, the lodge embodies teachings related to home, land, and community. Drawn from lived experience in Piikani Nation, these forms are rearticulated across each surface, creating spatial systems that resist the fixed boundaries of colonial cartography.
Across the exhibition, layers of information remain visible. Fragments of maps persist beneath painted fields, their borders disrupted but legible. This coexistence reflects an ongoing tension between imposed territorial frameworks and Siksikaitsitapi understandings of land as relational and lived.
Re-counting Coup considers what it means to act with courage today. Here, bravery is expressed through continuation—through the sustained act of making, learning, and transmitting knowledge. The work affirms that Siksikaitsitapi ways of knowing are not static, but continuously evolving and carried forward.
Fazakas Gallery
659 E Hastings St, Vancouver, BC
I Use My Haida Eyes: The History Robes of Jut-ke-Nay–Hazel Wilson explores a singular body of work by the late Jut-ke-Nay–Hazel Wilson (1941–2016), a Haida artist who dedicated her life
I Use My Haida Eyes: The History Robes of Jut-ke-Nay–Hazel Wilson explores a singular body of work by the late Jut-ke-Nay–Hazel Wilson (1941–2016), a Haida artist who dedicated her life to Haida cultural work.
Museum of Anthropology
6393 N.W. Marine Drive
Step inside a 360° experience set within some of British Columbia’s last remaining ancient forests, offering both an adventure for the senses and an ecological awakening. Presented as part of the
Presented as part of the exhibition Future Geographies: Art in the Century of Climate Change, SANCTUARY: The Ancient Forest Experience is an immersive installation created by artist, ethnobotanist, educator and activist Dr. T’uy’t’tanat Cease Wyss in collaboration with filmmakers Damien Gillis and Olivier Leroux.
At the heart of the exhibition is a life-sized replica of an 1,800-year-old red cedar. Inside, visitors enter a geodesic dome where a stunning 360° film transports them deep into some of British Columbia’s last remaining ancient forests—places rarely seen, increasingly threatened and profoundly sacred.
SANCTUARY features the Inland Temperate Rainforest in BC’s Kootenay region and the Dakota Bear Ancient Forest, known to the Skwxwú7mesh Úxwumixw (Squamish) People as Stal’Kaya (Home of the Sea Wolves) and located on the Sunshine Coast in the unceded territory of the Skwxwú7mesh Úxwumixw (Squamish Nation). These rich, intact forests, which have evolved since the last Ice Age, are set in stark contrast with nearby clear-cuts and tree plantations.
Narrated by Dr. Wyss, this multi-sensory work is accompanied by a layered soundscape of birdsong, flowing streams and waterfalls. It also highlights the flora and fauna of these ecosystems, including culturally modified trees, living evidence of the Squamish Nation’s long-term care and use of Stal’Kaya. Red and yellow cedars, traditionally used to make canoes, paddles, baskets and other vital cultural objects, feature prominently in the film, with a selection of works displayed in the gallery.
In 2021, following more than a decade of advocacy to halt logging in Stal’Kaya, the Squamish Nation and the Government of British Columbia reached an agreement to protect the forest. The film also explores ongoing efforts by the Valhalla Wilderness Society to protect the Inland Temperate Rainforest. While the creation of the Incomappleux Ancient Forest Conservancy in 2023 marked an important step forward, many ancient forests in the Kootenays remain unprotected—an increasingly critical pursuit in the era of climate change.
Vancouver Art Gallery
750 Hornby Street
As the environmental crisis accelerates, artists around the world are responding with urgency, insight and vision. Future Geographies: Art in the Century of Climate Change is the first major exhibition
As the environmental crisis accelerates, artists around the world are responding with urgency, insight and vision. Future Geographies: Art in the Century of Climate Change is the first major exhibition in Canada to examine the intersection of the climate crisis and contemporary art on a global scale.
Featuring works from the past 25 years, this exhibition underscores the urgency and relevance of sustainability and the environment as defining issues of our time. More than 35 works across a range of media—from large-scale video installations to living sculptures—invite viewers to confront pressing questions about our shared future on this planet.
Presented across multiple floors, Future Geographies includes a newly commissioned work by Jeffrey Gibson and marks the first time several artists are exhibiting in Vancouver, including Teresita Fernández, Josh Kline, Cannupa Hanska Luger, Jean Shin and Clarissa Tossin. The exhibition also features major works by BC–based artists such as Brian Jungen, Gabrielle L’Hirondelle Hill and Lawrence Paul Yuxweluptun Lets’lo:tseltun, connecting global issues with local specificity. Together, the works in this exhibition invite dialogue and create space for imagining.
In conjunction with the exhibition, the Vancouver Art Gallery is partnering with the University of British Columbia Climate Action Lab to create unique platforms for cross disciplinary dialogue. After its presentation at the Vancouver Art Gallery, Future Geographies will travel to the Art Gallery of Ontario.
Future Geographies will continue on the Gallery’s 4th Floor with the immersive installation SANCTUARY: The Ancient Forest Experience, by Dr. T’uy’t’tanat Cease Wyss, Damien Gillis and Olivier Leroux, and a presentation of cedar works by local artists, curated by Dr. Wyss.
A public artwork by Cannupa Hanska Luger will be featured on a billboard on 1611 E Hastings Street (near Commercial Drive) and is a collaboration with Capture Photography Festival.
Vancouver Art Gallery
750 Hornby Street
100+ tiny sculptures from artists such as Jean Paul Langlois, Ben Skinner, Amanda Wood, Meg Shaw, Amelia Butcher, Andrea Hooge, Hiller Goodspeed, Puppyteeth, and more! Just $200 each! The main event
100+ tiny sculptures from artists such as Jean Paul Langlois, Ben Skinner, Amanda Wood, Meg Shaw, Amelia Butcher, Andrea Hooge, Hiller Goodspeed, Puppyteeth, and more! Just $200 each!
The main event takes place Friday, May 15, at 6 pm, when all works will be released simultaneously in the gallery and online. ARRIVE EARLY! Works are available on a first-come basis and will move quickly. Cash-and-carry! Proceeds go to support THIS Gallery’s commitment to accessibility, experimentation, and artist-led programming.
The exhibition is on view through May 24, 2026 at THIS Gallery.
THIS Gallery
268 Keefer St
Free and open to the public, VABF is a three-day celebration of artists’ publishing featuring over one hundred local, national and international publishers, as well as a diverse line-up of
Free and open to the public, VABF is a three-day celebration of artists’ publishing featuring over one hundred local, national and international publishers, as well as a diverse line-up of programs, performances and artists’ projects.
Roundhouse Community Arts & Recreation Centre
181 Roundhouse Mews
Takao Tanabe’s fascination with landscapes comes vividly to life through his travels across British Columbia, North America, the Arctic, and Europe. With his camera always at hand, he journeyed widely
Takao Tanabe’s fascination with landscapes comes vividly to life through his travels across British Columbia, North America, the Arctic, and Europe. With his camera always at hand, he journeyed widely to explore the wonders of places that sparked his curiosity and creative drive. Tanabe captured their geographical features and unique atmosphere, translating them into paintings in his studio that balance careful observation with poetic reflection. His works invite quiet contemplation, as if he listens intently to the land itself.
Machu Picchu (1990-2012) is a look back on Tanabe’s journey there in 1977. Each brushstroke, layer of colour, and element of composition evokes the memories and spirit of the place, which Tanabe revisited in his mind while working on the painting. He returned to it in 2012, completing it to his satisfaction at that time.
In Suffolk Village (1996–97) and Peninsula, N.L. (2014), Tanabe demonstrates precise attention to form, colour, and space. Suffolk Village depicts a historical coastal town under dramatic skies, while Peninsula, N.L., pares the landscape to sky, land, and sea, emphasizing its clarity. In contrast, Arctic and northern interior landscapes such as High Arctic 2/91, Aston Bay, Somerset Is. (1991) and Chilcotin 1/89, Frozen Lake (1989) use diffused light, soft contours, and muted greys and blues to evoke solitude, introspection, and the emotional resonance of extreme environments.
One of the highlights of this exhibition is a triptych, N.W.T.1/97: Beaulieu River (1997), donated by the artist to the Audain Art Museum in 2018. This large-scale river painting has a quiet intensity, offering the viewer an immersive engagement with nature, while capturing Canada’s breathtaking scenery.
Across continents, oceans, and lands, Tanabe’s travel paintings in this exhibition reveal both the poetic essence of the world and its quiet, meditative spirit, offering a deeply contemplative vision of place.
Audain Art Museum
4350 Blackcomb Way
Steam Engine 374 pulled into Vancouver 139 years ago, becoming the first passenger train to arrive on the west coast. Join our community members to celebrate the
Steam Engine 374 pulled into Vancouver 139 years ago, becoming the first passenger train to arrive on the west coast.
Join our community members to celebrate the age of steam, with live music, art, crafts and fun family activities.
Roundhouse Community Arts & Recreation Centre
181 Roundhouse Mews
Marian Penner Bancroft’s work is deeply rooted in photographic explorations of the imagination and the material world. These interface with colonial histories, migration, objects and identities, allowing contemplation of durations
Marian Penner Bancroft’s work is deeply rooted in photographic explorations of the imagination and the material world. These interface with colonial histories, migration, objects and identities, allowing contemplation of durations ranging from deep time to the ephemeral.
Marian Penner Bancroft’s “Long Story” is an installation that brings together photographs, videos, and wall texts featuring both new works and related pieces created since 2000. These reflect the artist’s ongoing engagement with complex questions addressable through a careful examination of visual traces of human activity with reference to the natural world, providing viewers the possibility of considering their own stories in relationship to the spaces they inhabit.
West Vancouver Art Museum
680 17th Street, V7V 3T2
Nine ceramic artists. Two cultural contexts — Taiwan and Vancouver. One exhibition. “Where form meets the boundless” brings together artists whose works are held in collections from the Louvre to
Nine ceramic artists. Two cultural contexts — Taiwan and Vancouver. One exhibition.
“Where form meets the boundless” brings together artists whose works are held in collections from the Louvre to the Gyeonggi Ceramic Museum, from YVR Airport to temples in Shanghai. Among them: an IAC member under UNESCO, the president of Taiwan’s Ceramic Sculpture Association, and one of Vancouver’s most sought-after emerging ceramists.
But this show isn’t about credentials. It’s about what happens when radically different approaches to clay — shaped by different traditions, different educations, different landscapes — are placed side by side in a single room.
JIG SPACE
106-8889 Laurel Street
Head down to Granville Island for the Vancouver International Children’s Festival May 25 to May 31 and enjoy spectacular performances from around the globe for kids and families of all
Head down to Granville Island for the Vancouver International Children’s Festival May 25 to May 31 and enjoy spectacular performances from around the globe for kids and families of all ages! The 2026 Festival will feature circus arts, puppetry, theatre, dance, and music shows plus lots of arts activities created just for children.
Each show ticket includes an Activity Village wrist-band. With over 15 arts activities, the Activity Village offers many ways to have fun together as a family.
Granville Island
1398 Cartwright Street
Sashiko is a traditional Japanese running stitch used for mending and reinforcement. In this relaxed workshop, you’ll learn simple hand stitches, including sashiko, while exploring creative repair techniques. Bring jeans
Sashiko is a traditional Japanese running stitch used for mending and reinforcement. In this relaxed workshop, you’ll learn simple hand stitches, including sashiko, while exploring creative repair techniques. Bring jeans or textiles to mend or embellish. Please bring scissors and inspiring fabric, or use provided materials.
At its most elevated, sashiko is a fine art form, but its humble roots come from country folk mending their indigo dyed hemp garments. Mending is having a renaissance as we begin to look for ways to counter the incredibly wasteful and harmful aspects of the textile industry. Group sewing has always been a way for women to connect and share. Note the gallery will be closed to the public during the workshop.
The Ferry Building Gallery
1414 Argyle Avenue
The must-attend art fair on Canada’s West Coast takes place at the Vancouver Convention Centre East Building from May 28 – 31, 2026. Explore contemporary artworks, discover new artists, and
The must-attend art fair on Canada’s West Coast takes place at the Vancouver Convention Centre East Building from May 28 – 31, 2026. Explore contemporary artworks, discover new artists, and experience four days of creativity and culture in the heart of Vancouver.
Vancouver Convention Centre
1055 Canada Place,
28mayAll Day31Art Vancouver(All Day)(GMT+00:00) Event TypeArt EventAdmission TypeTicketed
The must-attend art fair on Canada’s West Coast takes place at the Vancouver Convention Centre – East Building from May 28 – 31, 2026. Explore contemporary artworks, discover
The must-attend art fair on Canada’s West Coast takes place at the Vancouver Convention Centre – East Building from May 28 – 31, 2026. Explore contemporary artworks, discover new artists, and experience four days of creativity and culture in the heart of Vancouver.
Tickets are now available; reserve yours to experience Art Vancouver 2026
THIS Gallery presents Objet D’Art, a solo exhibition of new paintings by Sara Robichaud. Working from a personal archive of domestic objects (tools, utensils, furniture, and inherited items) Robichaud transforms still
THIS Gallery presents Objet D’Art, a solo exhibition of new paintings by Sara Robichaud.
Working from a personal archive of domestic objects (tools, utensils, furniture, and inherited items) Robichaud transforms still life into an active visual language shaped by memory, use, and time. Many works are rendered at a 1:1 scale, grounding the paintings in close observation, while shifts in scale introduce moments of metaphor.
Her process moves between precision and fluidity, combining hand-cut stencils with poured and manipulated paint to create surfaces that shift from raw canvas to reflective, iridescent finishes. Mirrors and plant forms appear throughout, linking perception to lived experience and situating the work within cycles of growth and change.
Objet D’Art invites sustained attention, offering a space to reconsider the quiet significance of everyday objects.
https://thisgallery.org/project/sara-robichaud-objet-dart/
Image courtesy THIS Gallery
THIS Gallery
268 Keefer St
Art Vancouver presents a series of art classes taught by professional artists. The Vancouver Visual Art Foundation invites
Art Vancouver presents a series of art classes taught by professional artists.
The Vancouver Visual Art Foundation invites you to get creative with our series of art classes taking place at Art Vancouver and taught by our incredible exhibitors.
This art class tickets includes all art supplies and 1 Day admission to the show.
Vancouver Convention Centre East
999 Canada Place
View the 80+ participating artists and use our interactive map to plan your event weekend.
View the 80+ participating artists and use our interactive map to plan your event weekend.
Experience the beauty of the season with our Springtime Sculpt Series, a curated stone-carving experience at Fathom Stone Art. From March through May, guests are invited to carve their own
Experience the beauty of the season with our Springtime Sculpt Series, a curated stone-carving experience at Fathom Stone Art. From March through May, guests are invited to carve their own spring-inspired soapstone sculpture—choose from elegant eggs, bunnies, tulips, or design your own completely custom piece.
This refined gallery workshop offers a calm and creative escape for families, couples, and art-lovers of all ages. Guests begin with raw BC Soapstone, sketch their design, carve and shape their sculpture, then polish and oil it to a radiant finish. Every piece is a keepsake, handcrafted and taken home the same day.
Perfect for Spring Break, Easter holidays, rainy-day indoor activities, or off-slope afternoons, the Springtime Sculpt Series provides a memorable Whistler experience that blends artistry, relaxation, and local craftsmanship.
Private bookings, family sessions, and group activations are available daily.
The Westin Resort & Spa
#110 - 4090 Whistler Way
