NGC Taps Scholar to 'Rematriate Knowledge' in Landmark Residency

OTTAWA, ON – February 12, 2026 – The National Gallery of Canada (NGC) is embarking on a transformative journey into the heart of historical Indigenous art with the appointment of Dr. Sherry Farrell Racette as its inaugural Audain Indigenous Curatorial Scholar in Residence. This new, three-year residency, established in partnership with The Audain Foundation, marks a pivotal moment for the institution, creating a dedicated space for deep, Indigenous-led research designed to reshape how museums understand, care for, and share Indigenous cultural heritage.

Farrell Racette, a distinguished scholar, artist, and curator, will begin her tenure later this year. The residency provides a significant platform, supported by a $50,000 annual stipend and research funds, for an eminent Indigenous scholar to advance new methodologies within a national institution. Her work is anticipated to have a ripple effect, influencing best practices for collecting, exhibiting, and conserving Indigenous art across the country.

"We are extremely pleased and honoured to have such an eminent and accomplished scholar, curator and community activist as the inaugural Audain Indigenous Curatorial Scholar in Residence," said Steven Loft, Vice-President of Indigenous Ways and Decolonization at the NGC. "Sherry Farrell Racette brings a wealth of experience, critical research practice and community relations to her project with us."

A Scholar's Vision: From Looking to Knowing

Sherry Farrell Racette is a formidable figure in the worlds of art and academia. A member of Timiskaming First Nation (Quebec) with Métis/Anishinaabe–Algonquin/Irish heritage, she is a Professor at the University of Regina whose career has been dedicated to recovering and amplifying Indigenous women's voices and aesthetic knowledge. Her work is deeply grounded in extensive research in archives and museum collections, combined with a hands-on artistic practice centered on beadwork and stitch-based traditions.

Her influence has been felt in major curatorial projects, including the landmark exhibition Radical Stitch, a sweeping survey of contemporary Indigenous beadwork that toured to the NGC in 2024, and Kwaata–nihtaawakihk – A Hard Birth, which reframed Manitoba's history from a Métis perspective. These projects exemplify her ability to weave together historical objects, archival documents, and contemporary art to tell powerful, community-centered stories.

During her residency, Farrell Racette will undertake a project titled Knowledge Repatriation / A Pedagogy of Looking. This research moves beyond simple observation to champion a form of deep, experiential engagement with historical Indigenous artworks. The project’s title itself signals a radical shift: it’s not just about looking at objects, but about learning from them as living cultural belongings saturated with knowledge.

"It's an honour to be the inaugural Audain Indigenous Curatorial Scholar in Residence," Farrell Racette stated. "I am an artist and I engage with art through an artist's lens. My goal over the next three years is to explore the best ways of rematriating knowledge... And, importantly, to critically examine what that means for institutions and those entrusted with their care."

Her concept of "rematriating knowledge" is a powerful counterpoint to repatriation, focusing on restoring knowledge systems, particularly those held and transmitted by women, to their central place within communities. Her methodology will involve hands-on creative research—making and experimenting with materials and techniques—to unlock and understand the knowledge encoded within the historical works housed at the gallery.

Institutional Shift: Decolonizing the Gaze

This residency is not an isolated initiative but a cornerstone of the National Gallery of Canada's broader, institution-wide strategy of decolonization. In 2021, the gallery launched its five-year strategic plan, "Transform Together," which explicitly commits to centering Indigenous ways of knowing and being. This led to the 2022 formation of the Department of Indigenous Ways and Decolonization, led by Steven Loft, to embed these principles across the gallery's operations.

The appointment of Farrell Racette is a tangible outcome of this strategy, demonstrating a commitment to move from consultation to Indigenous-led action. It represents a deliberate effort to decolonize the institutional gaze—the traditionally Western, colonial framework through which Indigenous art has been viewed, interpreted, and displayed. By providing the time, space, and resources for an Indigenous scholar to lead this kind of research, the NGC is actively working to dismantle its own colonial structures and build new relationships based on respect and collaboration.

The project's focus on learning directly from artworks challenges the authority of the traditional, non-Indigenous curator or art historian as the sole expert. Instead, it positions the artworks themselves as primary sources of knowledge and Indigenous artists and knowledge keepers as the leading authorities in their interpretation. This shift is fundamental to the process of reconciliation and is part of a growing trend among cultural institutions globally that are grappling with their colonial legacies.

The Power of Partnership

This groundbreaking residency would not be possible without the focused support of The Audain Foundation. Chaired by philanthropist Michael Audain, the foundation has a long and influential history of championing the visual arts in Canada, with a particular and sustained interest in Indigenous art. This partnership exemplifies a model of philanthropy that invests directly in the intellectual and cultural infrastructure needed for systemic change.

"What drew the Audain Foundation to this fellowship was the opportunity to support thoughtful research that deepens understanding of historical Indigenous art," said Michael Audain. "We are pleased to support Sherry Farrell Racette's work at the National Gallery of Canada and to see how her research will contribute to new ways of learning from and caring for Indigenous collections."

The foundation's contributions have been pivotal at numerous institutions. They include a historic $100 million gift to the Vancouver Art Gallery, the establishment of the Audain Art Museum in Whistler, and the creation of an Audain Chair in Historical Indigenous Art at the University of British Columbia. This pattern of investment demonstrates a deep understanding that fostering Indigenous-led research and curatorial practice is essential for the future of Canadian art history.

The Audain Fellowship provides the stability of a three-year appointment, allowing for the kind of deep, unhurried research that Farrell Racette’s Pedagogy of Looking requires. This sustained support is critical for building the trusting relationships with communities and the deep familiarity with collections that are necessary for meaningful knowledge repatriation.

As Farrell Racette begins her work, the implications extend far beyond the walls of the NGC. The project will culminate in a public symposium and a publication, ensuring that the methodologies developed and the knowledge recovered will be shared widely. This initiative is not just about re-interpreting a collection; it is about forging a new path for how national institutions can respectfully engage with Indigenous heritage, honor artworks as living entities, and participate authentically in the vital work of cultural revitalization.