Wanda Nanibush  Wanda Nanibush (born 1976) is an Anishinaabe curator, artist and educator based in Toronto, Ontario. She is the Curator of Indigenous Art at the Art Gallery of Ontario and the author of the book "Violence No More: The Rise of Indigenous Women." Nanibush is a member of the Beausoleil First Nation. She obtained an MA in visual arts from the University of Toronto. She has also served as Curator in Residence at the Justina M. Barnicke Gallery. Nanibush has a long-standing relationship with Anishinaabe multimedia artist Rebecca Belmore and has curated a series of shows featuring her work including "KWE: Photography, Sculpture, Video and Performance by Rebecca Belmore" (2014) at the Justina M. Barnicke Gallery, and "Rebecca Belmore:" "Facing the Monumental" (2018) a retrospective of Belmore's 30 year career at the Art Gallery of Ontario. Nanibush has been an active community organizer participating in demonstrations against the Iraq War and uranium processing, and raising awareness about the relationship between racism and lack of education. She has also worked as an organizer for Idle No More Toronto talks and teach-ins to help with education efforts. Nanibush began work at the Art Gallery of Ontario in 2016 as an assistant curator of Canadian and Indigenous Art in the department of Canadian art. Her first curatorial project at the AGO was assisting with "Toronto: Tributes + Tributaries, 1971–1989," for which she included Anishinaabemowin interpretive text alongside English and French as a way of marking Toronto as traditional Indigenous territory. When the AGO restructured in 2017, renaming the department of Canadian Art to the department of Indigenous and Canadian Art, Nanibush was promoted to curator of Indigenous Art. As part of the role, Nanibush co heads the department with Georgiana Uhlyarik, the curator of Canadian Art. Together they have made a series of changes to the exhibition of Indigenous and Canadian art ranging from the renaming of an Emily Carr painting from "The Indian Church" to "Church in Yuquot Village" as a way of paying respect to the people the artist admired throughout her career and positioning Anishinaabe as the first available text on display in the J.S. McLean Center for Indigenous and Canadian Art, followed by English and French, as a way of recognizing Indigenous peoples as the first occupiers of what is now Canada.