What are the opening hours?

Monday 12pm - 5pm Tuesday 12pm - 5pm Wednesday 12pm - 9pm Thursday 12pm - 5pm Friday 12pm - 5pm Saturday 12pm - 3pm

http://www.blackwoodgallery.ca/, http://twitter.com/the_blackwood

Blackwood Gallery, 3359 Mississauga Road North, University of Toronto, Mississauga, ON (2026)

Q: What is the address?

3359 Mississauga Road North, University Of Toronto

08/18/2026

Throughout the summer, the Blackwood hosted a series of programs that explored themes rooted in the current lightbox exhibition 𝘛𝘩𝘦 𝘊𝘭𝘢𝘴𝘴𝘳𝘰𝘰𝘮 by Hicham Benohoud. This four-part series led by guest contributors foregrounded culture-rooted practices and plural forms of knowledge-making, engaging choreography, accessibility, illustration, storytelling, dance, and photography as tools for shared learning and artmaking.

Beginning on Wednesday, June 10th, we were joined by 𝗟𝘂𝗰𝘆 𝗘𝗹-𝗦𝗵𝗲𝗿𝗶𝗳 and the 𝗭𝗮𝘆𝘁𝗼𝘂𝗻𝗮 𝗔𝗰𝗮𝗱𝗲𝗺𝘆 𝗼𝗳 𝗖𝘂𝗹𝘁𝘂𝗿𝗮𝗹 𝗔𝗿𝘁𝘀 (.ca) who reflected on dabke as a form of Palestinian world-making. Through their talk and performance, the everlasting ties between bodies, community, land, and history are shown to prevail under ongoing conditions of violence and deracination.

On Saturday, July 11th, 𝗠𝗶𝗴𝗴𝘆 𝗘𝘀𝘁𝗲𝗯𝗮𝗻 () led a workshop that explored a writing and embodied witnessing as access-creation. Highlighting the limitless nature of observation and interpretation, the group used photographs from 𝘛𝘩𝘦 𝘊𝘭𝘢𝘴𝘴𝘳𝘰𝘰𝘮 as the basis for creating poems, scores, and gestures that demonstrate how meaning can emerge through collective acts of looking.

On Wednesday, July 22nd, 𝗠𝗮𝘆𝗮 𝗘𝗹 𝗛𝗲𝗹𝗼𝘂 () led a hands-on visual ethnography workshop that encouraged participants to lead with imagination. As an inherently interpretive methodology, Helou’s ethnographic practice invited participants to combine field work and storytelling to understand and engage with the environments that surround us.

For our final program on Saturday, August 8th, 𝗟𝗲𝗶𝗹𝗮 𝗙𝗮𝘁𝗲𝗺𝗶 () joined us at VAM () in the Riverwood Conservatory for a photography workshop geared towards kids aged 8-12 years old. Inspired by the playfulness of Benohoud’s images, participants engaged with the park landscape to produce photographs of their own that implore similar methods of experimentation and imaginative scene building.

𝘛𝘩𝘦 𝘊𝘭𝘢𝘴𝘴𝘳𝘰𝘰𝘮 public program series was proudly sponsored by U of T affinity partners, Manulife and TD Insurance. Discover the benefits of affinity products! https://buff.ly/35Wmnyg

𝗜𝗺𝗮𝗴𝗲𝘀:
1+4. 𝘚𝘬𝘦𝘵𝘤𝘩𝘪𝘯𝘨 𝘵𝘩𝘦 𝘚𝘰𝘤𝘪𝘢𝘭 with Maya El Helou, July 22, 2026. Photo: Nick Iwanyshyn.
2. 𝘐𝘵𝘴𝘩𝘢𝘭𝘪𝘵 𝘸𝘪𝘵 𝘩𝘢𝘵𝘪𝘵 with Lucy El-Sherif and Zaytouna Academy of Cultural Arts, June 10, 2026. Photo: The Blackwood.
3. 𝘊𝘳𝘪𝘱 𝘊𝘩𝘰𝘳𝘦𝘰𝘨𝘳𝘢𝘱𝘩𝘪𝘤 𝘞𝘪𝘵𝘯𝘦𝘴𝘴𝘪𝘯𝘨 with Jose Miguel Esteban, July 11, 2026. Photo: Henry Chan.
5. 𝘛𝘩𝘦 𝘚𝘦𝘤𝘳𝘦𝘵 𝘚𝘤𝘩𝘰𝘰𝘭 𝘰𝘧 𝘕𝘢𝘵𝘶𝘳𝘦 with Leila Fatemi, August 8, 2026. Photo courtesy The Blackwood.

08/04/2026

Are you a University of Toronto student interested in contemporary art and looking to gain meaningful work experience? Join our team in one of eight positions as part of the Work Study program this Fall/Winter academic term! There are two openings per position:

Curatorial Research Assistant (Job ID: 265985)
Studio Assistant (Job ID: 265988)
Digital Media Assistant (Job ID: 265990)
Public Programs and Outreach Assistant (Job ID: 265991)

Please visit the Career and Co-Curricular Learning Network (CLNx) to view the full job descriptions and eligibility requirements. Students across all three University of Toronto campuses (University of Toronto, UTM, U of T Scarborough (UTSC) 🇨🇦) may apply.

Apply by August 31, 2026, 11:59pm EST. Students are strongly encouraged to apply early. Link in bio for full details, eligibility, and how to apply!

Image: Maïder Fortuné & Annie MacDonell, 𝘛𝘩𝘦 𝘉𝘪𝘳𝘥 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘊𝘶𝘱, 2014. Installation view of 𝘛𝘩𝘦 𝘈𝘳𝘵 𝘎𝘢𝘭𝘭𝘦𝘳𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮, January 8—March, 2025. Photo: Toni Hafkenscheid.

08/04/2026

Are you a University of Toronto student interested in contemporary art and looking to gain meaningful work experience? Join our team in one of eight positions as part of the Work Study program this Fall/Winter academic term! There are two openings per position:

Curatorial Research Assistant (Job ID: 265985)
Studio Assistant (Job ID: 265988)
Digital Media Assistant (Job ID: 265990)
Public Programs and Outreach Assistant (Job ID: 265991)

Please visit the Career and Co-Curricular Learning Network (CLNx) to view the full job descriptions and eligibility requirements. Students across all three University of Toronto campuses (, , ) may apply.

Apply by August 31, 2026, 11:59pm EST. Students are strongly encouraged to apply early. Read the job poster for full details, eligibility, and how to apply: https://buff.ly/KK0LpB6

Image: Maïder Fortuné & Annie MacDonell, 𝘛𝘩𝘦 𝘉𝘪𝘳𝘥 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘊𝘶𝘱, 2014. Installation view of 𝘛𝘩𝘦 𝘈𝘳𝘵 𝘎𝘢𝘭𝘭𝘦𝘳𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮, January 8—March, 2025. Photo: Toni Hafkenscheid.

07/30/2026

For the latest post on the Blackwood Reader, Curatorial Research Assistant Nusha Naziri (Nusha) adopts the structure of a syllabus to consider emergent forms of learning grounded in artistic practice, collective inquiry, and embodiment.

Through a selection of programs, publications, Glossary and Index entries, as well as resources from the Blackwood’s archive, Naziri offers a lesson plan that breaks away from fixed, linear models for education. Questioning what curricula documents deliberately include and leave out, this text proposes curriculum as scaffold: an adaptable framework through which students, educators, and institutions may negotiate what learning can become when collectively reshaped.

Read “Scaffold for Learning: Toward Another Curriculum” now on the ! Link in bio.

Image: Gediminas & Nomeda Urbonas in collaboration with Indrė Umbrasaitė and Nicole L’Huillier, 𝘍𝘶𝘵𝘶𝘳𝘪𝘵𝘺 𝘐𝘴𝘭𝘢𝘯𝘥, 2019. Installation view at the Massachusetts Institute of Technology. Courtesy the artists.

Image descriptions: Three people climb through a sound sculpture of horizontally stacked blue pipes. White text overlays the second slide and reads: “If curricula documents were understood as scaffolds for learning—supportive platforms for student engagement that depart from predetermined outcomes in education—how might they be rewritten through artistic practice? / Read “Scaffold for Learning: Toward Another Curriculum” on the Blackwood Reader www.blackwoodgallery.ca/reader.”

07/23/2026

Attention recent post-secondary graduates! The Blackwood is currently accepting applications for a Research and Engagement Assistant, a Young Canada Works — Building Careers in Heritage position for 2026–27, beginning September 14, 2026. Visit our website for the full job description, eligibility, and how to apply. Link in bio!

Deadline: August 21, 2026, 11:59pm

Image: From the interpretive video for 𝘖𝘳𝘯𝘢𝘮𝘦𝘯𝘵𝘪𝘯𝘨 𝘙𝘦𝘭𝘢𝘵𝘪𝘰𝘯, presented by the Blackwood, July 4–August 28, 2022, as part of 𝘊𝘳𝘰𝘴𝘴𝘪𝘯𝘨𝘴: 𝘐𝘵𝘪𝘯𝘦𝘳𝘢𝘳𝘪𝘦𝘴 𝘰𝘧 𝘌𝘯𝘤𝘰𝘶𝘯𝘵𝘦𝘳. Video by Vuk Dragojevic.

Image description: Past intern Ron Siu sits at a desk looking at a laptop. Through the floor to ceiling windows in behind, a lightbox featuring the work of Golnar Adili is in view. Surrounding the video still, black text is on a chartreuse background with a constellation of pale-yellow circles and includes the position title and deadline.

07/17/2026

Upcoming workshop for kids! The Blackwood Gallery and Visual Arts Mississauga are pleased to present 𝘛𝘩𝘦 𝘚𝘦𝘤𝘳𝘦𝘵 𝘚𝘤𝘩𝘰𝘰𝘭 𝘰𝘧 𝘕𝘢𝘵𝘶𝘳𝘦 with Leila Fatemi () on August 8, 12-1:30pm, at VAM in the Riverwood Conservancy.

Inspired by Hicham Benohoud’s playful photographic interventions in 𝘛𝘩𝘦 𝘊𝘭𝘢𝘴𝘴𝘳𝘰𝘰𝘮, participants will explore the grounds of the park, using Instax cameras to explore and transform the landscape into imaginative portraits and staged scenes. Through observation, collaboration, and experimentation, youth will discover how photography can be a tool to reshape how we see ourselves and the world around us.

For kids 8–12 years old. No prior experience with photography is necessary. Snacks will be served. Register on Eventbrite: https://buff.ly/IwgeAYv

Presented alongside 𝘛𝘩𝘦 𝘊𝘭𝘢𝘴𝘴𝘳𝘰𝘰𝘮, 𝘛𝘩𝘦 𝘚𝘦𝘤𝘳𝘦𝘵 𝘚𝘤𝘩𝘰𝘰𝘭 𝘰𝘧 𝘕𝘢𝘵𝘶𝘳𝘦 is the final event in a four-part program series that explores experimental education, movement, and creative pedagogy. Visit the Blackwood website for the full program schedule, descriptions, contributor bios, documentation, and access information.

Images: (1) Leila Fatemi, 𝘊𝘩𝘢𝘥𝘰𝘳 𝘟𝘐𝘟 from the series 𝘛𝘩𝘦 𝘞𝘢𝘯𝘥𝘦𝘳𝘪𝘯𝘨 𝘝𝘦𝘪𝘭, 2014. (3) Leila Fatemi, 𝘙𝘦𝘷𝘦𝘢𝘭𝘦𝘥, 𝘙𝘦𝘷𝘦𝘪𝘭𝘦𝘥, 2013. Courtesy the artist.

Image description: Against a pale blue background with bright green criss-crossing vertical lines, black text reads: “The Blackwood and Visual Arts Mississauga / The Secret School of Nature Below the text is a photograph of figure dressed in all white standing within a waterfall. Event details are displayed next to the images.

07/17/2026

The Classroom unmasks hidden curricula to reveal forms of agency latent in everyday life, with the imagination and wit of young people at its centre.

Explore "The Classroom" from now until Aug. 31
📍 Blackwood Gallery
⏰ 12 p.m. - 5 p.m.

Learn more ➡️ https://bit.ly/3Q6BXCK

07/15/2026

“Play is not peripheral, but crucial to life and cultural transformation. When we lose play, not only are we living uncreatively, 'we are caught up in the creativity of someone else, or of a machine.’” —Dina Georgis

Inspired by moments of play and creativity found in Hicham Benohoud’s 𝘛𝘩𝘦 𝘊𝘭𝘢𝘴𝘴𝘳𝘰𝘰𝘮, we are highlighting the term “play” not only as a means of cultivating social awareness and problem-solving in children, but also as a practice for performance, world-building, and storytelling. Because play is often guided by curiosity rather than predetermined outcomes, it can create opportunities for imagining various ways of interacting with people, objects, and environments.

Explore these projects, texts, and more on the , a cumulative site that illuminates, complicates, and enriches the terms that compose it. Link in bio!

Images:
1. Aby Watson (), 𝘚𝘵𝘪𝘮𝘱𝘳𝘰𝘷𝘪𝘴𝘢𝘵𝘪𝘰𝘯 workshop, February 7, 2026. Part of 𝘖𝘶𝘨𝘩𝘵𝘪𝘴𝘮. Photo: Henry Chan.
3. Widline Cadet (), 𝘕𝘰𝘶 𝘍è 𝘗𝘢𝘵𝘪, 𝘕𝘰𝘶 𝘚𝘦, 𝘕𝘰𝘶 𝘈𝘯𝘷𝘪 (𝘞𝘦 𝘉𝘦𝘭𝘰𝘯𝘨, 𝘞𝘦 𝘣𝘦, 𝘞𝘦 𝘓𝘰𝘯𝘨), 2020. Courtesy the artist. Part of 𝘛𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 𝘯𝘰 𝘱𝘢𝘳𝘵𝘴, May 9–June 26, 2022.
4. Dina Georgis (), 𝘋𝘦𝘮𝘢𝘨𝘰𝘨𝘶𝘦𝘴 𝘨𝘰𝘵 𝘮𝘦 𝘵𝘩𝘪𝘯𝘬𝘪𝘯𝘨 𝘪𝘯 𝘥𝘰𝘶𝘣𝘭𝘦 𝘣𝘪𝘯𝘥𝘴, December 16, 2020. A reader-in-Residence response to Erdem Taşdelen work in 𝘙𝘢𝘥𝘪𝘤𝘢𝘭 𝘏𝘰𝘱𝘦, part 3 of 𝘉𝘶𝘳𝘯𝘪𝘯𝘨 𝘎𝘭𝘢𝘴𝘴, 𝘙𝘦𝘢𝘥𝘪𝘯𝘨 𝘚𝘵𝘰𝘯𝘦.
5. Germaine Liu and Mark Zurawinski ( and ), 𝘏𝘦𝘢𝘳 𝘏𝘦𝘳𝘦, 𝘉𝘦𝘢𝘯 𝘉𝘦𝘪𝘯𝘨𝘴, September 18, 2024. Part of 𝘘𝘜𝘐𝘌𝘛 𝘗𝘈𝘙𝘈𝘋𝘌. Photo: Henry Chan.

Citation: Dina Georgis quoting D.W. Winnicott, 𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘢𝘯𝘥 𝘙𝘦𝘢𝘭𝘪𝘵𝘺 (Abingdon: Routledge, 2005), 87. In 𝘋𝘦𝘮𝘢𝘨𝘰𝘨𝘶𝘦𝘴 𝘨𝘰𝘵 𝘮𝘦 𝘵𝘩𝘪𝘯𝘬𝘪𝘯𝘨 𝘪𝘯 𝘥𝘰𝘶𝘣𝘭𝘦 𝘣𝘪𝘯𝘥𝘴, 2020.

Image descriptions:

1. In a dance studio, participants animate various stimming toys and tools. In the foreground on the left, a participant lies on their back with an exercise ball balanced on their elevated feet.

2. Black text on a cream background reads: “Play: To take part in a game or recreational activity, often self-chosen and self-directed. While play is frequently entangled with the language of childhood, it also generates practices of performance, world-building, and storytelling.”

3. A person depicted from the back bens down towards their left ankle wearing a checkered dress. The figure is multiplied several times in front of a checkered backdrop suspended from a frame consisting of two tripods, a bar, and two clamps, with green grass underneath and a dark background.

4. Black text on a cream background reads: “Play—imagination at work—is a capacity available to everyone, beyond childhood... Play subjects us to risk and uncertainty—feelings we often try to eschew. In play, we create and re-create our relationship to the outside world through experimentation and pleasure—not expectation or demand.
—Dina Georgis, Demagogues got me thinking in double binds

5. Colourful paper are clipped with wooden clothespins to h**p strings that are attached to a metal frame. Behind the structure, the artists take photos and look down at collected messages.

07/08/2026

What stories can surface when we observe the world around us through drawing and imagination? Join us on Wednesday, July 22 for 𝘚𝘬𝘦𝘵𝘤𝘩𝘪𝘯𝘨 𝘵𝘩𝘦 𝘚𝘰𝘤𝘪𝘢𝘭: 𝘠𝘰𝘶 𝘋𝘰𝘯’𝘵 𝘕𝘦𝘦𝘥 𝘵𝘰 𝘒𝘯𝘰𝘸 𝘏𝘰𝘸 𝘵𝘰 𝘋𝘳𝘢𝘸 𝘵𝘰 𝘋𝘰 𝘝𝘪𝘴𝘶𝘢𝘭 𝘌𝘵𝘩𝘯𝘰𝘨𝘳𝘢𝘱𝘩𝘺 with Maya El Helou () where we’ll explore this question and more!

Embracing play and experimentation, this workshop aims to stretch the boundaries of how we think about ethnographies, asking: how do comics and graphic narratives help us understand and interpret our social realities? Combing fieldwork, media, and storytelling, a visual approach to ethnography transforms how research is created, conveyed, and engaged. As El Helou underscores, it asks us to “feel the affect of the visual, which complicates, completes, or makes visible what the written word cannot do.”

True to the workshop’s title, drawing experience is not needed—movement through campus spaces is welcomed for fieldwork. Free and open to all. Snacks and refreshments will be provided. Register on Eventbrite: https://buff.ly/f3ja6At

Presented alongside 𝘛𝘩𝘦 𝘊𝘭𝘢𝘴𝘴𝘳𝘰𝘰𝘮, 𝘚𝘬𝘦𝘵𝘤𝘩𝘪𝘯𝘨 𝘵𝘩𝘦 𝘚𝘰𝘤𝘪𝘢𝘭 is the third event in a four-part program series that explores experimental education, movement, and creative pedagogy. Visit the Blackwood website for the full program schedule, descriptions, contributor bios, documentation, and access information.

All illustrations from El Helou’s forthcoming book, 𝘘𝘶𝘦𝘦𝘳 & 𝘛𝘳𝘢𝘯𝘴 𝘈𝘯𝘵𝘢𝘨𝘰𝘯𝘪𝘴𝘮 𝘈𝘨𝘢𝘪𝘯𝘴𝘵 𝘵𝘩𝘦 𝘊𝘰𝘯𝘴𝘰𝘳𝘵𝘪𝘶𝘮 𝘰𝘧 𝘓𝘦𝘵 𝘋𝘪𝘦 𝘪𝘯 𝘉𝘦𝘪𝘳𝘶𝘵. Courtesy the artist.

Image description: Against a pale green background with light blue criss-crossing vertical lines, black text reads: “Sketching the Social.” Below the text are two black and white illustrations. At right, the image feature of a person who is seated in a chair with their hands clasped in their lap. A rotary phone atop a side table is next to them. Framed portraits with scribbled heads hang on the wall behind them. At left, a woman wearing a head covering holds up a portrait of a faceless person. Event details are displayed next to the images.

07/02/2026

How is creativity fostered in educational settings? What is learned through experimentation and play? A new entry to the Blackwood’s Index is abridged from an even more pointed question from philosopher Félix Guattari: “How do you bring a classroom to life as if it were a work of art?”

Indeed, can a classroom be a work of art? Critical educators, movement practitioners, and socially engaged artists would likely say yes: at its best, teaching transforms everyone involved. The classroom, in pedagogical projects, is not merely a physical space—it becomes a field of activity for collective learning through experimentation, play, observation, and action.

We invite you to explore these past Blackwood projects, programs, publications, and more on the —a question-driven mode of navigation through our website and ongoing methodology for charting the interconnected political, social, cultural, poetic, and aesthetic stakes in recent programming. Link in bio!

1-2. sean procyk (Sean Process) leads participants to collectively assemble a pop-up presentation and learning space using reclaimed barn timbers in 𝘶𝘯/𝘭𝘦𝘢𝘳𝘯𝘪𝘯𝘨: 𝘳𝘦𝘪𝘮𝘢𝘨𝘪𝘯𝘪𝘯𝘨 𝘵𝘩𝘦 𝘵𝘪𝘮𝘣𝘦𝘳 𝘧𝘢𝘳𝘮𝘩𝘰𝘶𝘴𝘦, June 29, 2019. Photo: Sarah Bodri.
3. Fikile Nxumalo (Fikile Nxumalo), “Thinking with Black Ecologies in Educational Research,” 𝘚𝘋𝘜𝘒13: 𝘞𝘈𝘋𝘐𝘕𝘎, September 2022.
4-5. Katherine Ball, “Water Filtration System: Floating University Berlin” (FLOATING BERLIN), 𝘚𝘋𝘜𝘒09: 𝘋𝘐𝘍𝘍𝘜𝘚𝘐𝘕𝘎, June 2021. Photo: Benoît Verjat.
6. Abedar Kamgari (Ab Kam), 𝘍𝘪𝘯𝘥𝘪𝘯𝘨 𝘸𝘰𝘳𝘥𝘴 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘧𝘦𝘦𝘭𝘪𝘯𝘨, 2017. Photo: Toni Hafkenscheid.
7. Quill Christie-Peters (Quill Christie-Peters), “Embodying Ancestral Love: The Indigenous Youth Residency Program,” 𝘚𝘋𝘜𝘒15: 𝘊𝘖𝘕𝘍𝘐𝘋𝘐𝘕𝘎, May 2023.

Image descriptions:
1-2. A group of children draw on an outdoor chalkboard hung between reclaimed barn timbre. On the second slide, text overlays the image and reads: “How do you bring a classroom to life?”
3. An excerpt from Fikile Nxumalo’s text reads: “[W]hat might it look like to centre Black ecologies in Canadian education research and practice? One possibility is to take inspiration from multiple temporalities. That is to say, Black ecologies are not only concerned with past and present more-than-human relationalities. They also include an engagement with future-oriented, liberatory world-making.”
4. A multi-level structure consisting of wooden platforms, planters, bathtubs various furniture. The outdoor structure is part of a water filtration system and is encased by scaffolding and a fabric overhead covering. There are stairs to move between levels. Ladders, signage, fencing, and a graffitied wood board are below.
5. An excerpt from Katherin Ball’s text reads: “At Floating University, experimental water systems are constructed at every possible avenue. Water cascades down the laboratory stairs and spirals through a series of biological filters. Then, the filtered water journeys to the university’s kitchen, bathroom, auditorium, and greenhouse.”
6. Kamgari drags a large droplet-shaped plaster mass around campus leaving behind a chalky trail to mark its presence on the land.
7. An excerpt from Quill Christie-Peters’ text reads: “We always do an opening circle because the idea is to bring our whole personhood to the space. Then, we shift into a lesson. We do a deep dive into some element of colonialism. I give them the language to talk about what they already know. All these young people know colonialism; they just need some language to name and understand it better. The lesson is based on dialogue so while I am teaching, people are sharing. It is very interactive.”

Blackwood Gallery

08/18/2026

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