Last fall, I attended the Aboriginal Curatorial Collective’s colloquium Revisioning the Indians of Canada Pavilion: Ahzhekewada (Let us look back). As an emerging independent curator, I was curious to see how the arts service organization would approach curatorial practice, given that the field as an object of study is so new, and given that the departure point for the colloquium was Expo 67’s Indians of Canada pavilion. As a person of Aboriginal descent, I was eager to engage in a conversation about the negotiation of identity in relationship to a navigation of inherited historical narratives. Or, in a looking back that is rooted in identity, what kinds of revisioning become possible? And how can these spaces of imagination feedback into curatorial practice? It is impossible to summarize an event of this scope: the focused discussions spread out over a weekend and were complimented by an extensive slate of exhibitions, but I tried to articulate my experience in a review for FUSE Magazine. What became clear over the course of the colloquium is that history is a living thing, to be nurtured and remade continually. This is not to say that the past can be whatever one chooses, but that in order to make the future one desires, precedents must be acknowledged. Our allies (some of them at least) have oftentimes preceded us.