This thesis establishes a critical genealogy of the history of curating Indigenous art in Canada from an Ontario-centric perspective. Since the pivotal intervention by Indigenous artists, curators, and political activists in the staging of the Indians of Canada Pavilion at Expo 67 in Montreal, Quebec, the curation of Indigenous art in Canada has moved from a practice of necessity, largely unrecognized by mainstream arts institutions, to a professionalized practice that exists both within and on the margins of public galleries. The shifting parameters of the collection and exhibition practices of contemporary Indigenous art in Canada are inherently linked to a constant negotiation on the part of Indigenous curators. These numerous engagements manifested in the establishment of a number of Indigenous arts advocacy groups, artist-run centres, and the adoption of alternative modes of curating and exhibiting Indigenous artwork. This time period is characterized by fractious and often-contradictory views held by Indigenous and non-Indigenous artists, curators, and public arts institutions on how the terms of inclusion should be shaped.