Every February, we wonder whether Black History Month is a relevant or marginalizing force. Curators Sally Frater and Pamela Edmonds join the debate with their exhibition 28 Days, which shows that artists of African descent still have plenty to say about black history, and still deserve a lot more recognition than they’re getting.

Archives are the conceptual launching pad for two shows that opened last week at Mercer Union. Curator Sarah Robayo Sheridan has selected two strong artists who explore the taxonomy of images.

It might as well be Pride: Winter Edition in the Toronto art scene – the AGYU’s Will Munro retrospective runs at the same time as the Power Plant’s queer group show, Coming After, and a slew of related events.

Though Montreal artist Laurie Walker focused primarily on sculpture, Susan Hobbs is showing four large-scale drawings she completed just before her death last year.

In a bloordale laneway behind a kitchen counter manufacturer, Micah Lexier’s jokey illuminated sign marks the entrance to Scrap Metal. Type Books owner Samara Walbohm and financier Joel Shlesinger have built this “private museum” to display their collection of Canadian and international art and provide an Ydessa Hendeles-style venue for their own and future guest curators’ exhibits.

Appropriation is the theme of That Was Now, the stellar show curated by Mia Nielsen.

A realist painter who doesn’t use a brush, Dorian FitzGerald makes startlingly beautiful canvases out of glossy-magazine images of luxury and excess. He achieves this transformation through a critical approach to his subject and an unusual technique.

Marc Chagall, beloved painter of whimsical folkloric dreamscapes set mostly in his childhood village of Vitebsk, is one of a handful of modernist artists who were wildly popular in their lifetime. He never strayed far from his trademark floating goats, fiddlers, brides and acrobats – evocations of Jewish shtetl life and the beauty of Paris.