Kirsty Robertson is associate professor of museum studies and contemporary art at the University of Western Ontario and co-editor and writer of a number of books, including Negotiations in a Vacant Lot: Studying the Visual in Canada.

"Tear Gas Epiphanies is an excellent contribution to the field of critical museum studies in Canada and globally. Robertson highlights exhilarating moments of protest, while also offering critical analysis, paying attention to the demands of intersectionality in theory and practice." Shelley Ruth Butler, McGill Institute for the Study of Canada and co-editor of Curatorial Dreams: Critics Imagine Exhibitions "Tear Gas Epiphanies presents high-quality, well-designed, and well-examined case studies in the context of political debates around art, museums, and activism. It will be widely read by those interested in the politics of culture, national identity, and public history – its formation, models of resistance, and transformations over time." Kylie Message, Australian National University Humanities Research Centre "Tear Gas Epiphanies is a thoroughly researched and admirably written book. [It] provides a compelling account of museums cum protests/protests cum museums and constitutes a brilliant addition to existing scholarship." RACAR : Revue d'art Canadienne/Canadian Art Review"For students of History, Art, Museum Studies, and Urban Planning, this book teaches the reader how museum spaces, art galleries, and movements around remembrance have been politicized, co-opted, and/or mobilized within these institutions in the Canadian context over the course of the twentieth century. Robertson's work remains important to the field at large and will continue to be interrogated by scholars for years to come." Historical Studies in Education / Revue d'histoire de l'éducation

Kirsty Robertson is associate professor of museum studies and contemporary art at the University of Western Ontario and co-editor and writer of a number of books, including Negotiations in a Vacant Lot: Studying the Visual in Canada.

"Tear Gas Epiphanies is an excellent contribution to the field of critical museum studies in Canada and globally. Robertson highlights exhilarating moments of protest, while also offering critical analysis, paying attention to the demands of intersectionality in theory and practice." Shelley Ruth Butler, McGill Institute for the Study of Canada and co-editor of Curatorial Dreams: Critics Imagine Exhibitions "Tear Gas Epiphanies presents high-quality, well-designed, and well-examined case studies in the context of political debates around art, museums, and activism. It will be widely read by those interested in the politics of culture, national identity, and public history – its formation, models of resistance, and transformations over time." Kylie Message, Australian National University Humanities Research Centre "Tear Gas Epiphanies is a thoroughly researched and admirably written book. [It] provides a compelling account of museums cum protests/protests cum museums and constitutes a brilliant addition to existing scholarship." RACAR : Revue d'art Canadienne/Canadian Art Review"For students of History, Art, Museum Studies, and Urban Planning, this book teaches the reader how museum spaces, art galleries, and movements around remembrance have been politicized, co-opted, and/or mobilized within these institutions in the Canadian context over the course of the twentieth century. Robertson's work remains important to the field at large and will continue to be interrogated by scholars for years to come." Historical Studies in Education / Revue d'histoire de l'éducation

Kirsty Robertson is associate professor of museum studies and contemporary art at the University of Western Ontario and co-editor and writer of a number of books, including Negotiations in a Vacant Lot: Studying the Visual in Canada.

"Tear Gas Epiphanies is an excellent contribution to the field of critical museum studies in Canada and globally. Robertson highlights exhilarating moments of protest, while also offering critical analysis, paying attention to the demands of intersectionality in theory and practice." Shelley Ruth Butler, McGill Institute for the Study of Canada and co-editor of Curatorial Dreams: Critics Imagine Exhibitions "Tear Gas Epiphanies presents high-quality, well-designed, and well-examined case studies in the context of political debates around art, museums, and activism. It will be widely read by those interested in the politics of culture, national identity, and public history – its formation, models of resistance, and transformations over time." Kylie Message, Australian National University Humanities Research Centre "Tear Gas Epiphanies is a thoroughly researched and admirably written book. [It] provides a compelling account of museums cum protests/protests cum museums and constitutes a brilliant addition to existing scholarship." RACAR : Revue d'art Canadienne/Canadian Art Review"For students of History, Art, Museum Studies, and Urban Planning, this book teaches the reader how museum spaces, art galleries, and movements around remembrance have been politicized, co-opted, and/or mobilized within these institutions in the Canadian context over the course of the twentieth century. Robertson's work remains important to the field at large and will continue to be interrogated by scholars for years to come." Historical Studies in Education / Revue d'histoire de l'éducation