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Its new signature exhibit is comprehensive and commemorates the country’s low points as well as its triumphs while including minority perspectives on events large and small. Throughout, it recognizes that history is often as much a matter of debate as absolutes. The new exhibit differs noticeably from the unloved Canada Hall , which opened when the museum moved to its current location in 1989 and closed in 2014 as part of the reconception. The designers of that exhibit attempted to tell the country’s history through recreations of things like streetscapes and a Chinese laundry. The museum’s deep holdings of artifacts were largely left hidden in warehouses. Now, the abundance of artifacts is the most striking feature in its successor. There are about 1,500 on display, from “The First Face,” a delicate carving about 3,900 years old from Devon Island in the Arctic, to the pianist Glenn Gould’s cap and gloves. In general, the artifacts tell broader stories rather than serve simply as national relics. A much-darned hockey sweater worn by the Montreal Canadiens hockey great Maurice Richard during the 1959 Stanley Cup playoffs is within a section dealing with Quebec nationalism rather than as part of a sports exhibit. (A 1955 riot sparked by the suspension of Richard is now http://naturalwheyproteinswl.webdeamor.com/the-best-questions-for-necessary-factors-of-grass-fed-whey-protein-canada seen as an early manifestation of Quebec nationalism. ) The curators also did not shy away from debates over the past.
For the original version including any supplementary images or video, visit https://www.nytimes.com/2017/07/07/world/canada/history-hall-museum.html