Local News
Four seniors’ apartment buildings connected to the Jewish community were built in a 20-year period in Winnipeg
Three have had open and fair admission policies throughout their histories, but now there are questions about how Shalom Gardens accepts new applicants
By BERNIE BELLAN There have been several periods in the history of Winnipeg’s Jewish community that saw bursts of construction activity of different sorts.
Perhaps the most notable period was the post-war era following World War II when, in no particular order, the community saw the building within a ten-year period of: the Shaarey Zedek, Rosh Pina, Adas Yeshurun (and Herzlia Academy), and Talmud Torah synagogues, along with the YMHA on Hargrave, Talmud Torah and I.L. Peretz schools, Joseph Wolinsky Collegiate, and Ramah Hebrew School.
The population of the Jewish community was growing rapidly in the 1950s and 1960s and the infrastructure that was built then was intended to serve a community that had shifted primarily from the old north end to newer communities in West Kildonan, Garden City, and River Heights.
As our community aged, however, there was another spurt of activity beginning with the construction of HSBA Gardens on Sinclair in 1970. This time, the focus was on seniors’ housing. There was a total of four buildings constructed from 1970 to 1991: HSBA Gardens, built in 1971 (50 suites); Beit Am (adjoining the Bnay Abraham Synagogue), built in the 1980s (65 suites); Shalom Gardens (next to Temple Shalom), built in 1987 (47 suites); and the Rosh Pina Housing Co-op, built in 1991 (62 suites).
Although one of the prime motivating factors in building the three north end buildings was to provide low-cost housing for Jewish seniors, over time the number of Jewish occupants of any of the three north end buildings dwindled.
As Myron Love noted in an article he wrote for this paper in 2013 upon the occasion of Temple Shalom’s 25th anniversary, “The purpose of three synagogue-related seniors apartments – the Beit Am was built adjacent to and connected with the former Bnay Abraham Synagogue and the Rosh Pina Co-op just across the road from the current Congregation Etz Chayim (which used to be the Rosh Pina) – was to provide affordable apartments for Jewish seniors who were looking to downsize and, it was hoped, to help boost attendance for Shabbat and daily minyan services at the synagogues.
“As things turned out however, with more members of the community choosing to move south – lured in part by newer assisted independent living complexes such as the Shaftesbury, the Portsmouth and the Boulton, the number of Jewish residents of the three apartment blocks is far outnumbered by non-Jewish seniors. The number of Jewish residents currently living at the 40-suite (all bachelor suites) HSBA Gardens, for example, may have dwindled to as few as one.”
And, while the construction of HSBA Gardens preceded the actual construction of the Beth Israel Synagogue on Sinclair Street, both the Beit Am and Rosh Pina Housing Co-op were built on vacant lots next to their respective synagogues.
The opening of the Rosh PIna Housing Co-op in 1991 followed the opening of Shalom Gardens in the south end in 1987. The rules governing housing co-ops in Manitoba are fairly clear:
“Co-op members purchase equity shares in the co-op and collectively become owners of the building and property.”
Members of co-ops have certain other responsibilities, as outlined in information available on a Manitoba Government website:
“1. You purchase a membership to live in a home owned by the co-op.
“2. As a member, you share in the financial and decision-making responsibility for the operation of the co-op, including who lives there.
“3. You pay a share of the costs to maintain the co-op.
“4. You build equity if you live in an equity co-op. You do not build equity if you live in a non-profit co-op.”
I spoke with Len Podheiser, who was one of the key figures involved in building the Rosh Pina Housing Co-op, and asked him how that project was financed. Len said that the financing “came 100% from CMHC (Canada Mortgage and Housing Corporation.”
“It was built at no cost to the synagogue,” Len added. There were some advantages to having an apartment block next to the synagogue, he explained, such as being able to share snow clearing and landscaping costs.
Something else that Len noted was that Saul Simkin, who was one of the leading members of the Rosh Pina at the time, owned a brick factory in Denver, and he donated the interlocking bricks that make up the co-op’s façade.
Although, according to the co-op’s current manager, there are still some Jewish residents there, it’s a far cry from 1991, when the Rosh Pina Housing Co-op first opened and, according to Len Podheiser, “it was all Jewish.”
Each of the three north end buildings is now managed by professional building management companies. Anyone who would like to live in one of those buildings can simply contact the manager of each of the buildings and, if there is an opening and they meet the criteria for living in a particular residence, they will either be accepted or they will be put on a wait list until there is an opening.
As it turns out, however, the situation with Shalom Gardens insofar as being accepted as a member of that co-op is apparently quite different.
The story behind Shalom Gardens is a particularly fascinating one.
As Myron Love noted in that 2013 article which was written upon the occasion of Temple Shalom’s 25th anniversary, the construction of Shalom Gardens was what, in fact, led to Temple Shalom being able to move into what had previously been a Baptist Church on the corner of Grant and Wilton in Winnipeg’s south end.
“In June, 1987, the 80 members/member families of Temple Shalom, Winnipeg’s only Reform Congregation, literally took a leap of faith when they approved a proposal to buy a new building and property at the corner of Grant and Wilton,” Myron wrote.
“ ‘We started with $30,000,’ recalls Lorne Sharfe, one of the driving forces behind the purchase of the new building. ‘We had to come up with $460,000 by September. Just the down payment was $10,000.’
“A committee led by Sharfe, Allan Sourkes and the late Phil Schachter beat the bushes for the remaining funds. The TD Bank was prepared to loan the congregation $350,000. The fundraising committee also acquired grants from the provincial government and the Jewish Foundation of Manitoba. Along with some funds contributed by members and proceeds from the sale of their existing building, they were able to come up with enough money to buy the property.
“The final piece though was the construction of Shalom Gardens Housing Co-op Ltd., a low income seniors co-op adjoining the new Temple.
“Sharfe spoke about the challenges of raising funds for the congregation’s new building and how the idea for the housing co-op came about. ‘We had a parking lot on the corner beside our building, he recalled. ‘We were considering different options for developing the lot and generating income for the Temple.’
“The idea for the housing co-op originated with architect and Temple member Harry Haid. The benefits of building the apartment complex were a lump sum initial rental payment of $175, 000 (which went to paying down the TD mortgage) and the opportunity to further enhance the Temple – with an expanded entrance, new carpeting, wall paneling and lighting, the installation of an elevator and air conditioning, construction of an office, cloakroom, handicap access washroom, additional storage and an elevated parking structure at the rear of the building.”
In a recent conversation that I had with Lorne Sharfe, he told me that, in fact, he had put up a personal guarantee for the $460,000 that was required to buy the church on Grant and Wilton. Unlike the three north end projects, therefore, the building of Shalom Gardens was an absolute prerequisite for the Temple Shalom congregation to undertake; otherwise there wouldn’t have been a new home for the congregation.
And, although Shalom Gardens has always been open to residents of any faith or nationality, at the very beginning it had a heavy Jewish component, just as all the three north end residences had initially.
What got me interested in the four residences that were all built either by Jewish congregations or, as was the case with HBSA Gardens – the Hebrew Sick Benefit Association, was something that I discovered about how Shalom Gardens treats applicants for membership in that co-op.
While Shalom Gardens does have a part-time manager, unlike the Rosh Pina Housing Co-op, which is managed day-to-day by a professional apartment management firm, the members of Shalom Gardens actually play an active role in the day-to-day management of their building and it is one individual member of that co-op who seems to have the power to decide who will move into the co-op, whether or not a particular applicant may have applied ahead of another applicant.
Here is how I became involved in trying to sort out a troubling situation in which an individual was first told there was a vacancy at Shalom Gardens by the manager of Shalom Gardens, but when she immediately sent in her application, it was subsequently returned to her with the news that the unit had already been rented and that she would have to go on a wait list.
As I’ve noted before, I’ve been delivering kosher Meals on Wheels every Friday for the Gwen Secter Centre. On January 21st one of my clients mentioned that she would like to move elsewhere and she wondered whether I could recommend a nice place.
I immediately suggested Shalom Gardens, as I’m very familiar with that residence and think very highly of it. My customer told me she would follow up my suggestion and contact Shalom Gardens.
Two weeks after having mentioned Shalom Gardens to this client, on February 4th she told me that she was quite upset with what had subsequently happened to her.
She told me that when she called Shalom Gardens she was told there was a vacant unit there and that, if she sent in her application with a deposit, she would be able to have that unit.
But, shortly after having sent in her application, the client told me she received a letter from the manager of the membership committee of Shalom Gardens, in which she was now informed that the unit in question had been given to someone else. She wondered what had happened in the interim period?
I told her that I would attempt to ascertain exactly what happened, i.e. Why was she told there was a vacant unit which she could have, and then told that it was not available?
I did speak to another resident of Shalom Gardens and asked that person whether they had an idea what might have happened? This person suggested that the chair of the membership committee is able to decide who moves into Shalom Gardens on her own and evidently she had not wanted to see the vacant unit rented out to my Meals on Wheels client.
I have attempted to contact the manager of the membership committee to find out why she rejected my customer’s application, but I was told that she’s in Vancouver now and I was unable to reach her. I have also attempted to contact the manager of Shalom Gardens who, I presume, is the person to whom my customer spoke when she inquired about any vacancies at Shalom Gardens to ask her what happened, but she did not return my calls.
While I can well understand that Shalom Gardens was not built with the specific purpose of providing housing for Jewish seniors – unlike the three north end buildings, I am somewhat dismayed at the sequence of events that led my Meals on Wheels client first to get her hopes up, then to have them dashed. While the members of Shalom Gardens themselves have ultimate responsibility for managing their co-op, it seems evident that one individual who vets applications for membership wields inordinate power in deciding who will be accepted as a member. It was suggested to me that this individual has favoured friends of hers when it comes to moving into what is a very highly sought after seniors residence in the south end, and that individuals such as my Meals on Wheels client have been bumped as a result.
Unfortunately, it seems, there is no recourse for this individual, except to have me put in print what happened to her, which might lead to a much closer scrutiny on the part of Shalom Gardens co-op members how the chair of the membership committee handles applications for membership in that co-op.
Really, what ought to happen is that applications for membership at Shalom Gardens should be handled by someone who has no particular interest in favouring anyone over anyone else.
Local News
Hundreds rally against opening of Nakba exhibit at Human Rights Museum
By NOAH STRAUSS Around 300 people gathered outside the Canadian Museum for Human Rights on Friday during the grand opening of the museum’s newest exhibit, “Palestine Uprooted: Nakba Past and Present.” (Ed. note: The CBC report on the protest said there were “100” people at the rally. I know there were more than 100, but I’m not sure there were 300 either.) The exhibit, which had a limited number of tickets available for opening night, sold out. The Canadian Palestinian Association of Manitoba had originally planned a rally in support of the exhibit’s opening, but it was cancelled just days before the event.
The Nakba, which means “catastrophe” in Arabic, refers to the displacement of an estimated 750,000 Palestinians during the 1947–1949 war surrounding the establishment of the State of Israel. The exhibit has drawn criticism from members of Winnipeg’s Jewish community and others who argue that it does not acknowledge the displacement and persecution of Jewish communities in many Arab and Muslim-majority countries following Israel’s independence and the 1948 Arab-Israeli War. Historians estimate that between 850,000 and 950,000 Jews left or were expelled from Arab and Muslim-majority countries during the decades surrounding Israel’s establishment. In countries including Iraq, Egypt, and Yemen, many had their property confiscated, while others left because of persecution or increasing hostility.
Supporters of the Jewish community came from all faiths and backgrounds. The Jewish Post spoke with Lisa Lewis, a longtime supporter of the Jewish community.
“I think there is a crisis of antisemitism happening right now,” Lewis said.
She was one of many non-Jewish community members who attended the rally. Lewis said she has been an active ally since the 2000s, helping Argentine immigrants come to Canada. Following the October 7 attacks on Israel, she said she has become a more vocal supporter of the Jewish community. During the rally, she wore a Magen David necklace.
Lewis also criticized the museum’s approach to the exhibit.
“The Jewish community organizations that represent the majority of the Jewish community weren’t consulted on something like this,” she said.
Cindy Clubb, another ally of the Jewish community who attended the rally, also voiced her concerns.
“I grew up with prominent businesspeople and members of the academic and medical communities. I don’t know what we would do without our Jewish cooperation. So I’m up here to support them, and I think all of Winnipeg should be out here,” Clubb said.
One protester, who identified herself as Michelle, said, “We are against the Nakba exhibit. It’s all lies.”
Gustavo Zentner, Vice President of CIJA Manitoba and Saskatchewan, said, “We are calling on Minister Miller to hold the museum leadership accountable. The Minister of Canadian Heritage needs to ensure that national institutions are not weaponized against Canadians to serve a one-sided political agenda. These concerns were expressed not only by the Jewish community, but by many concerned Canadians. At its core, this is a Canadian issue.”
Zentner did not participate in the community rally. He went on to say, “We are proud of the many community members, allies, and organizers who gathered at the museum before Shabbat began to demonstrate their concerns.”
The museum defended its decision to present the exhibit. CEO Isha Khan said that “human rights matter precisely when they are inconvenient.” She added that the museum “belongs in the collective memory of Canadians.”
The exhibit is scheduled to remain on display until November 2028.
Local News
Interviews with the curator of the Nakba exhibit and the CEO of the Human Rights Museum
By BERNIE BELLAN On June 26, I was invited to attend the Canadian Museum for Human Right to see the Nakba exhibit prior to its being opened to the public. While I was there I was given the opportunity to interview the curator for the exhibit, Isabelle Masson, along with CMHR CEO Isha Khan. What follows are the transcripts of those interviews (edited only to remove pause words like “uh” and phrases that were repeated). The first interview was with Isabelle Masson:
Jewish Post: Several representatives of Winnipeg Jewish community organization say that they weren’t fairly consulted on this exhibit. How do you respond to that?
Masson: We came to this project with an awareness that Palestinian voices are often marginalized, even silenced, and an awareness that Islamophobia and anti-Palestinian racism have an impact on whose voice is heard and whose suffering is recognized. And so we intentionally chose to centre Palestinian voices with this exhibition.
JP: But to the point that many Jewish representatives of organizations and people within the community at large feel that the Jewish community should have been consulted on an issue that had such a direct impact on the Jewish community – did you not feel an obligation to consult with the Jewish community?
Masson: I think the best person to talk further about this issue is our CEO, Isha.
JP: In terms of the exhibit itself, I must say it really stresses the suffering that Palestinians have endured. But, in looking at other refugee situations around the world, the Palestinian situation seems to me to be unique in that there has never been an effort to resettle Palestinians within the countries to which they were forced to flee.
Do you not think that separates their situation (from other refugee situations) and, in some ways, it has made their situation worse than it could have been?
Masson: Well, the exhibit not only centres that experience of forced displacement and disposition as a longstanding experience across five generation that you know is tied to human rights violations that are ongoing today, but it also I want to point out, you know, foregrounds beauty, foregrounds resilience, foregrounds the maintenance of identity and belonging across time and across that experience. So there’s also these elements about this exhibition because it was also about humanizing Palestinians – about people with families with stories, with creativity – and coming back to some of the videos what interviewees say, right, we hope that Palestinians can be seen as fully human and hope that they can see Palestinians as having human rights and this this story today in this gallery is is a story about human rights.
JP: If I can focus on one particular aspect of the exhibit that I read this morning when I was sent the preview, it referred to what happened between the years 2000 and 2005 as a Palestinian uprising. But the Israeli term would be the Intifada which for them meant large-scale attacks – terrorist bombings by some Palestinians. Did you not think it necessary to include that in a larger context?
Masson: Well, we use uprising because it’s the most more accessible term in the exhibition and we, you know, we’re focusing really here on an artwork by artists – Palestinian American artist Reggie Cook and with an artwork that was trying to translate the experience of of occupation into what is created. So that’s the context in which we talk about that.
JP: But to ignore what happened during the uprising seems to me to leave out a major part of the context.
Masson: I don’t think that we are ignoring that. This exhibit is not about the full story of what has happened in Palestine, in Israel. It’s not, you know, the scope of this small exhibition. This small exhibition has a scope and the scope was really to create an opportunity and a place for Canadians to be able to encounter Palestinian Canadians and hear their voices.
JP: Given the current mood in the Middle East and the ongoing tensions between Israel and various other actors, the concern among many in the Jewish community that this is going to lead to a heightening of antisemitism and an exhibit like this seems that it’s not going to do much to improve relations between Jews and Palestinians when it focuses on only one side of the story. How do you respond to that?
Masson: Well, this is only one exhibit of of many, of many stories that we have.
Following is my interview with Isha Khan. Khan began by explaining that she is “the CEO at the Canadian Museum for Human Rights and I’ve been here as CEO of the museum since August of 2020. So almost six years.”
JP: So let’s get right down to discussing (the exhibit). I spoke to the curator. I asked a lot of questions about the exhibit itself. I’m more interested in asking (you) about the general context and the atmosphere in the community. The accusation has been made repeatedly by various leaders of Jewish organizations that you have not been willing to consult on this exhibit. How do you respond to that?
Khan: I think the word consult can mean many things. We have a community engagement practice. So for us that means that depending on the scope of the exhibit and this exhibit is about Palestinian Canadians and their experiences, the impacts of the human rights impacts, of forced displacement, which means we engage with that community as we share their stories. Many folks in the Jewish community will say we haven’t consulted with them and yet we have met with leaders of Jewish organizations from across Canada, main uh, major federations, foundations, local Jewish organization representatives many times to talk about this exhibit, to explain what its scope is, what it’s about, what it’s intended to do, and most importantly, what it isn’t. And unfortunately there continues to be misconceptions about what it is. So we hope people will come and see it.
JP: I think the fear in the community – and I think it’s well founded is that this will foment an increase in antisemitism. Can you understand that concern?
Khan: Absolutely. I personally and any member of our team who’s talked to folks about this has said that we unequivocally share the concern about antisemitism in Canada today. That is part of our mandate. And we will continue to do that work and we can also share these stories of Palestinian Canadians – you know, telling the story of one community’s human rights violation in no way should negate or minimize the experience of another community. That’s what this museum was designed to do….designed to build understanding of shared humanity and that’s what we believe we’re doing responsibly.
JP: Just before I began this interview, I was taken (down to the fourth floor; the Nakba exhibit is on the fifth floor) to see the gallery of other human rights violations. I’m not sure what it’s called. (It’s where there is a ) recitation of various human rights violations, including what happened in 1947 and 1948 (in Palestine). They offer passing reference to the displacement of both Jewish and Palestinian refugees. Would you consider ever having an exhibit about the displacement of Jewish refugees from Arab lands in 1948 and subsequent years?
Khan: We would absolutely consider it and in fact have shared with leaders of the Jewish organizations months ago that yes, these are important stories that need to be told (and) invited them to work constructively with us on developing that content. Unfortunately we didn’t really receive much response.
JP: How long is this exhibit supposed to be on for?
Khan: So this exhibit right now we’re saying is a minimum of two years. That’s because it is an exhibit in a standing gallery and so it also depends on our updating of our other galleries and, you know, exhibits take a bit of time. This one is four years in the making and so we’ve just committed that it’ll be a minimum of two years and we’ll see where things go.
JP: There are a lot of other refugee situations in the world – (for instance) South Sudan, and just this morning I was saying to Isabelle that I received an email about the situation for people from Burundi in the Democratic Republic of the Congo.
I didn’t realize that was a problem. I know that the Congo has had ongoing problems with displacement of populations. It it seems to me it’s not an unlimited number of stories like this you could tell, but there are a lot of others. How do you decide which ones take priority?
Khan: We’re often asked the question of how we decide, and it comes back to how this museum is designed. Each gallery is intended to tell a different story. It has an objective. So this exhibit, Palestine Uprooted, is in our Rights Today gallery. It’s to talk about global human rights issues. And we know that people want to better understand human rights of Palestinians. There’s no question. It’s being talked about, debated, discussed all over the world. And so we’re being responsive there to that need. And we know that Palestinian experiences were under represented in our galleries and have heard that for years. To your point though that there are other stories – the design of this museum is that you ought to be able to feel something, understand something about the forced displacement of one community and apply it to another. So now this story stands along the forced displacement of the Rwanda people, indigenous peoples, Ukrainian people, the Igbo people. You’ve named a number of others that we do need to develop content on over time, but it’s done depending on what gallery it is, what we are trying to invoke…because we’ll never be the encyclopedia of all human rights atrocities in the world. That’s actually why we’re called the Canadian Museum for Human Rights rather than the Canadian Museum of Human Rights.
We’re here to to develop an understanding through the stories that will impact people.
JP: Okay. I want to ask a politically loaded question.
Khan: Okay.
JP: The Jewish population of Canada is at best 450,000. In that range, Jews don’t have the political impact that they used to. At most, there are 12 to 16 ridings where the Jewish vote can make a difference. The Muslim population has grown substantially. It has a much larger political impact. Did that factor in to this exhibit being mounted in any way?
Khan: Absolutely not.
JP: So, I’ll ask the question that I asked the curator of the exhibit. Where did the impetus for this come from? Did it come from Palestinian Canadians?
Khan: This exhibit came from a recognition, our decision. I hold responsibility ultimately for the decisions made by my team. It was made based on the recognition that Palestinian experiences were under represented in this museum. We absolutely heard from the Palestinian community organizations in Canada and had heard for many years that their stories were underrepresented. Ultimately, the decision was ours. And as we look at this gallery and updating our content, this is ‘rights today’ – global human rights. We know that the world is talking about Palestinian human rights and the stories of Palestinian Canadians naturally belong in our collective memory alongside many other stories that are told here.
JP: There was one particular aspect on one of the panels when I was sent a preview this morning and it referred to the Palestinian uprising from 2000 to 2005 which led to a lot of Israeli deaths that we generally refer to as the Intifada. There’s no mention of Israeli deaths on that panel. Would you agree that might have been an oversight?
Khan: I mean I know that there the factual point is absolutely accurate. The decisions on the curation of the exhibit are not ones that I make, but certainly if that is a concern that we will look at.
Local News
Nakba exhbit at CMHR now open – here’s what it looks like
By BERNIE BELLAN (Posted June 26)The following press release was sent to me early Friday morning June 26 (Photos supplied by Annie Kierans, CMHR) Nothing that follows has been edited. I leave it to you to form your own opinion:
Winnipeg, MB — June 26, 2026 — The Canadian Museum for Human Rights (CMHR) will open a new exhibit tomorrow that explores human rights violations related to the ongoing forced displacement of Palestinian Canadians.
Palestine Uprooted: Nakba Past and Present will be on display in the Rights Today gallery on Level 5 until 2028. Featuring personal stories told through artifacts and video testimonies, the exhibit presents Palestinian Canadians reflecting on their ongoing struggle for human rights. The small exhibit reveals enduring patterns of loss and resilience, helping visitors understand more about this contemporary human rights story.
Palestinian Canadian stories are now included alongside many other stories of forced displacement and human rights violations featured in the Museum’s galleries. Each of these stories contribute to our visitors understanding of human rights and help the Museum fulfill its mandate to foster reflection and dialogue.
Exhibition highlights
Personal stories and artifacts: Experience firsthand accounts from Palestinian Canadians sharing their journeys of displacement and memory through a series of five artifacts. Cases display artifacts like property deeds, house keys, and a traditional Palestinian embroidered dress, accompanied by short videos that deepen understanding of the impacts of displacement.
Powerful artworks: In her painting Bound Together in Gaza, Malak Mattar, a Gazan artist, captures the struggles and resilience of her generation shaped by conflict. Her work pays homage to Guernica, Picasso’s powerful masterpiece depicting civilian suffering during war.
Curfews and Closures, by Rajie Cook, bears witness to life under military occupation during the 2000–2005 Palestinian uprising, when curfews and closures were expanded and further limited basic rights and freedoms.
Cultural heritage: Discover traditional Palestinian embroidery called tatreez. Tatreez motifs and colours are tied to place, family history and regional identity. Patterns are associated with particular towns, villages or areas of Palestine. In this way, tatreez is a form of storytelling: a way of preserving memory, sustaining identity and expressing resilience across displacement and exile.
Poetry and reflection: Engage with Mahmoud Darwish’s evocative verses, inspiring personal reflection on exile, voice, and responsibility. Visitors can take a card containing Darwish’s poem and add a personal note, fostering ongoing dialogue beyond the exhibit.
Contemporary context: Witness striking images of current events in Gaza and the West Bank, connecting past displacement to ongoing struggles.
Quotes:
“No force can silence the truth we carry. Growing up in Canada, my children lived the Nakba through our stories. And now we watch it happen again, live, on our phones. When I see the images coming out of Gaza, I am not watching the news. I am watching my history repeat itself.” -Fouad Sahyoun, a Palestinian Canadian featured in the exhibit
“We developed this exhibit with a clear awareness that Palestinian Canadian voices have too often been marginalized, silenced or spoken over — and that anti-Palestinian racism affects whose stories are heard and whose suffering is recognized. That is why we intentionally centred Palestinian Canadian voices throughout the exhibit.” -Isabelle Masson, Curator of Palestine Uprooted
“Human rights matter precisely when they are inconvenient, when the question of who deserves the dignity of having their rights recognized is genuinely contested. These are the moments where having a national museum for human rights is most important.
There are people who believe this exhibit should not exist in its current form. There are people who believe it should have existed sooner. There are people who will visit this exhibit and feel that it does not say enough, and others who will feel it says too much.
We have listened to every one of these voices. We have reflected. And we have renewed our resolve to continue the difficult, sometimes contested, and often controversial work of building understanding about human rights. We are a museum grounded in Canada’s human rights framework, whose mandate requires us to bear witness to the full complexity of the human story. We are proud to open this exhibit because the story it tells will help achieve that mandate, and because this story belongs in the collective memory of Canadians.”
- – Isha Khan, CEO
