7月1日，7月1日，在多伦多（前）艺术画廊的现代和当代加拿大艺术的新时代展出的新时代。13,000平方英尺的J.S.麦克莱恩中心为土着和加拿大艺术中心 - 去年加入了“土着”的名字，当博物馆成立了一个加拿大和土着艺术部门 - 是由于开放的reimagined画廊，这是第一次向第一个国家和Inuituit艺术提供最初的主流。
In each McLean gallery, “contemporary indigenous art starts the conversation with Canadian art”, says Wanda Nanibush, who became the AGO’s first curator of indigenous art in 2016. Nanibush and Georgiana Uhlyarik, the AGO’s curator of Canadian art, have designed the centre’s display of 75 works around six themes: origins, self, land, water, transformations and “indigenous2indigenous”. They avoided a chronological installation that would have moved through the decades and styles of Canadian art, on the grounds that “Canadian art [would decide] where indigenous art fits in”, Nanibush says. “It doesn’t allow for indigenous art to speak on its own terms.”
加拿大艺术家等艾米尔克和佛罗伦萨凯莱尔的作品在包括Carl Beam和Rebecca Belmore的土着艺术家的对话中挂在一起;后者将于今年夏天（10月12日 - 21日）在博物馆中拥有她最大的独奏展。For instance, in the “self” gallery, Belmore’s Rising to the Occasion (1987-91), a dress that the Anishinaabe-kwe artist wore in a performance responding to a royal visit to Ontario, is paired with Joanne Tod’s painting Chapeau Entaillé (1989) of a woman in a similar dress.
该中心增加了致力于从一到三个艺术的画廊空间数量，当代土着艺术填补了自己的大型新画廊。MCLean中心的标签现在以土着语言（当地的AnishinaBemowin语言或Inuktitut）编写，以及英语和法语。
同时举行了同时的汤姆森收集画廊的加拿大艺术。“在任何健康，成功的博物馆，你必须允许多个叙述，”博物馆的董事斯蒂芬Jost说。