Appearance before Standing Committee on Canadian Heritage - Indigenous Art Centre Audit (November 19, 2025)

Logistics

Date: November 19, 2025
Time: 4:30 p.m. – 6:30 p.m.
Location: Room 025-B, West Block

Appearing

Crown-Indigenous Relations and Northern Affairs (CIRNAC)

• Valerie Gideon, Deputy Minister for Crown-Indigenous Relations and Northen Affairs Canada
• Rob Wright, Associate Deputy Minister for Crown-Indigenous Relations and Northern Affairs Canada
• Stephanie Barozzi, Chief Audit and Evaluation Executive

Committee Membership

• MP Lisa Hepfner (LIB – ON) (Chair)
• MP Fares Al Soud (LIB – ON)
• MP David Myles (LIB – NB)
• MP Bienvenu-Olivier Ntumba (LIB – QC)
• MP Zoe Royer (LIB – BC)

• MP Rachael Thomas (CPC – AB) (Vice-Chair)
• MP Kerry Diotte (CPC – AB)
• MP Bernard Généreux (CPC – QC)
• MP Kevin Waugh (CPC – SK)

• MP Martin Champoux (BQ – QC) (Vice-Chair)

Parliamentary Analysis

MP Lisa Hepfner (LIB) (Chair) may ask about Indigenous Procurement issues, or Indigenous women's issues as she is a former member of the Standing Committee on the Status of Women (FEWO).

MP Fares Al Soud (LIB) may ask questions about French language artists and Artificial Intelligence.

MP David Myles (LIB), Parliamentary Secretary to the Minister of Canadian Identity and Culture and Minister responsible for Official Languages and Parliamentary Secretary to the Secretary of State (Nature), may ask questions relating to copyright laws and Artificial Intelligence.

MP Bienvenu-Olivier Ntumba (LIB) may ask questions about Indigenous collaboration and Indigenous artists in Quebec.

MP Zoe Royer (LIB) may ask questions about supports for young artists.

MP Rachael Thomas (CPC) (Vice-Chair) is also the CPC Shadow Minister for Canadian Identity and Culture. She may ask questions about digital platforms for artists.

MP Kerry Diotte (CPC) may ask questions about Indigenous procurement.

MP Bernard Généreux (CPC) is also the Associate Shadow Minister for Official Languages. He may ask questions about artists in Quebec.

MP Kevin Waugh (CPC) is the CPC Associate Shadow Minister for Canadian Identity and Culture. He may ask questions about digital media and Indigenous artists from Saskatchewan, such as Allen Sapp.

MP Martin Champoux (BQ) (Vice-Chair) may ask questions about digital media platforms for artists, and indigenous communities safeguarding their ancestral knowledge and protecting and promoting their cultural heritage.

Recent CHPC studies, reports and government responses

• Consideration of the Audit of the Indigenous Art Collection
• Effects of Influencers and Social Media Content on Children and Adolescents
  • Last meeting: November 5, 2025
• Effects of Technological Advances in AI on the Creative Industries
  • Last meeting: November 5, 2025
• Briefing on CBC/Radio-Canada's Priorities
  • Last meeting: October 20, 2025
• Briefing on the Implementation of the Online Streaming Act
  • Last meeting: October 1, 2025
• Report 3: The Holding of a National Forum on the Media
  • Presented to the House: September 24, 2025

Recent Ministerial Correspondence Relating to Art Centre Audit

Nil

The IAC through time

1950s: The Department of Northern Affairs collected Inuit art, while Indian art was mostly received as gifts provided to Ministers and Senior Officials by Indigenous partners.

1960s: Establishment of the Canadian Eskimo Arts Council and creation of social programs to support Indian Indigenous arts. In 1965, TBS granted authority to the Department to ‘stimulate Canadian [Indigenous] culture by facilitating the development of various forms of [Indigenous] cultural expression in the arts, arranging for scholarships and assisting in the organizations of [Indigenous] art exhibitions.'

1970s: Publication of TAWOW magazine, major exhibitions, and formation of the National Indian Arts and Crafts Corporation.

1980s: Focus on policy development, inventory management, and repatriation of cultural artifacts, with significant exhibitions and reports shaping the future of Indigenous art.

Throughout the decades (1970’s/1980’s) Regional Offices purchased artworks for the purpose of display in offices under the internal loan program.

1990: The IAC received both TBS Authorities to authorize purchase/maintenance of the Collection, as well as designation of a Category ‘A' Heritage Collection (Department of Heritage). As per requirements from the Authorities, the IAC was required to standardize cataloguing methodologies, as well as implement a standardized collection management system. The Indian Art Gallery opened in Hull, Quebec, now known as the Indigenous Art Centre Gallery at Les Terrasses de la Chaudière.

The jury process for the acquisition was created and an annual Indian Art Acquisition Jury continued to select and purchase works for the Collection.

The Indigenous Curatorial Collective was established.

1994-2004: Art Centre staff undertook a formalized review of the Art Collection, utilizing museum standard documentation, and cataloguing methodology. All works were catalogued and conserved.

This entailed Art Centre staff visiting Regional Offices and conducting inventories of the works based on documentation provided by Regional Office staff. During this period, a number of artworks were initially found unaccounted for.

2011-2013: Inventories performed of HǪ and Regional Offices indicated that additional artworks were unaccounted for. In August 2012, the IAC issued a Department-wide moratorium on office loans, due to initial high instances of unaccounted for works, to allow Art Centre staff to complete a full inventory.

2013: The IAC engaged the Canadian Conservation Institute (CCI) to conduct a facilities assessment at Les Terrasses de la Chaudière (10 Wellington, Gatineau).

In the CCI report, it was highlighted that the complex was not designed/intended to store artworks, and the IAC would not be able to meet its preservation obligations as per its designation as a Category ‘A' Collection. It also highlighted the risks posed by the internal loan program.

2017: The IAC officially suspended the internal loan program for the purpose of office decoration. An effort began to return remaining works related to this program from the Regions.

2020: Les Terrasses de la Chaudière renovation are announced and the IAC begins the preparation work to move the Collection to its new space at 161 Goldenrod. Renovations began to fit up the space addressing concerns raised in the 2013 CCI report. RCMP storage standards are then also integrated.

2020-2021: Due to the pandemic, and official closure of the complex, all artworks on display in HǪ were removed. During this exercise, a number of unaccounted for works were located.

2022: From March to December, artworks are delivered to the new space at 161 Goldenrod.

2023: The final artworks from regional displays were returned to the IAC.

Current Status

In the past few years, the Indigenous Art Center has updated its standards for all aspects of collection management, including the acquisition, conservation, and exhibition of these important Indigenous artworks.

CIRNAC has implemented partial components of a management control framework  to support activities related to the acquisition, preservation, promotion, de-accession, and disposition of Indigenous art within the Indigenous Art Collection. Within the Indigenous Art Centre, roles and responsibilities have been assigned to operate the Art Collection with systems in place to support the recordkeeping of art pieces. The setup of the temporary storage facility addressed some prior concerns related to preservation and protection that were identified through inspections of the prior storage space. The Indigenous Art Centre had recently established emergency management and integrated pest management plans. The Department has also upgraded to a "Collections Management System", adapting to meet new industry standards.

Some gaps in the management control framework identified by the audit included:

• The Indigenous Art Centre's key policy instruments remained in draft or were outdated;
• There was a lack of clarity in oversight roles and responsibilities and limited reporting into senior management on the Indigenous Art Centre's activities;
• A portion of the Indigenous Art Collection was being stored at a third-party storage facility owned and managed by a vendor due to space limitations in the temporary storage location; however no contract was in place to manage and oversee the services received and to ensure that the Collection was being safeguarded in accordance with the Indigenous Art Centre's requirements
• The Department did not have an up-to-date plan for sustaining the Indigenous Art Collection over its life-cycle nor there processes in place to identify and estimate holistic costs required to sustain operations in compliance with all its requirements;
• The audit observed opportunities to strengthen its internal controls to manage the Indigenous Art Collection, including proper retention of documentation to demonstrate the proper functioning of its physical security, environmental and recordkeeping controls.

Concerns with the previous storage facility that the move to the new temporary storage facility addressed include:

• The 2013 Canadian Conservation Institute (CCI) inspection of the old facility had raised issues with preservation and protection conditions. The new temporary PSPC facility corrected several of these through improved environmental and physical security controls.
• The temporary facility now has:
  • Restricted access to storage areas;
  • Temperature and humidity controls; and
  • 24-hour monitoring and motion detection systems.
• These controls were confirmed during the audit's June 2024 site visit, which explicitly noted they had "addressed several of the issues raised in the 2013 facility inspection."
• The new site also enabled the IAC to implement an Emergency Response Management Plan and an Integrated Pest Management Plan, both new measures not mentioned as being in place previously.
• The facility achieved Category A designation in July 2024 from the Department of Canadian Heritage after a CCI technical assessment, confirming it meets standards for the proper care of cultural property.

Gaps that remain at the new temporary storage facility include:

• Security cameras were not yet operational at the time of the audit.
• Incomplete HVAC maintenance records; a March 2023 water leak from HVAC plumbing damaged three artworks.
• Inspection documentation was missing, the IAC did not retain records of physical inspections or of checks done during the move.
• Oversight and governance weaknesses, outdated policy instruments, and lack of lifecycle costing remained systemic issues unrelated to the facility's physical setup.
• The IAC still used third-party storage without a contract, creating separate compliance and control gaps.

Resources

The IAC's annual salary budget is approximately $660k for 8 FTEs. Employees are specialized in this field and include project managers, collection coordinators, registrars, and archivists. The job descriptions include specific selection criteria including employees that are Indigenous, bilingual, and active in the arts community.

The IAC's annual O&M budget is approximately $334k. which includes funds for conservation, research, archival, acquisition, and programs.

Audit Findings

CIRNAC completed an internal audit of the Indigenous Art Collection in 2024, as part of its approved Risk-Based Audit Plan, to assess governance, oversight, and controls supporting the acquisition, preservation, protection, and promotion of Indigenous artworks. This audit covered the period from April 1, 2019, to August 31, 2024 and was completed and posted in 2025.

The audit was included in CIRNAC's approved 2022-23 to 2023-24 Risk-Based Audit Plan. The audit was identified as a priority because of several risks noted by the Department. In 2019, a need to eliminate the threat of damage to the Collection was identified following Public Services and Procurement Canada (PSPC's) announcement of Les Terrasses de la Chaudière (LTDLC) complex renovations, and as such, the Department moved the Collection to a temporary storage facility. At the time, the Department was in the process of identifying and relocating the collection to a permanent location.

In addition, as part of a fraud risk assessment performed by the Department in 2021, key risks were identified related to the completeness of the Indigenous Art Collection inventory and physical security controls in place to safeguard the Collection, both during and after the relocation to the temporary storage facility. Mishandling of culturally important art pieces held within the Collection poses a reputational risk and could adversely impact the Department's relationship with Indigenous stakeholders.

Assurance in this area was carried out by way of the internal audit to help address risks surrounding the appropriate preservation, protection, and promotion of the Collection in a manner consistent with relevant policies and standards for assets of heritage value.

Overall, the internal audit found that CIRNAC has implemented partial components of a management control framework to support activities related to the acquisition, preservation, promotion, de-accession, and disposition of Indigenous art within the Indigenous Art Collection. Within the Indigenous Art Centre, roles and responsibilities have been assigned to operate the Art Collection with systems in place to support the recordkeeping of art pieces. The setup of the temporary storage facility addressed some prior concerns related to preservation and protection that were identified through inspections of the prior storage space. The Indigenous Art Centre had recently established emergency management and integrated pest management plans.

Gaps in the management control framework identified by the audit included:

• The Indigenous Art Centre's key policy instruments remained in draft or were outdated;
• There was a lack of clarity in oversight roles and responsibilities and limited reporting into senior management on the Indigenous Art Centre's activities;
• A portion of the Indigenous Art Collection was being stored at a third-party storage facility owned and managed by a vendor due to space limitations in the temporary storage location; however no contract was in place to manage and oversee the services received and to ensure that the Collection was being safeguarded in accordance with the Indigenous Art Centre's requirements
• The Department did not have an up-to-date plan for sustaining the Indigenous Art Collection over its life-cycle nor there processes in place to identify and estimate holistic costs required to sustain operations in compliance with all its requirements; and
• The audit observed opportunities to strengthen its internal controls to manage the Indigenous Art Collection, including proper retention of documentation to demonstrate the proper functioning of its physical security, environmental and recordkeeping controls.

Concerns with the previous storage facility that the move to the new temporary storage facility addressed included:

• The 2013 Canadian Conservation Institute (CCI) inspection of the old facility had raised issues with preservation and protection conditions. The new temporary PSPC facility corrected several of these through improved environmental and physical security controls.
• The temporary facility now has:
  • Restricted access to storage areas;
  • Temperature and humidity controls; and
  • 24-hour monitoring and motion detection systems.
• These controls were confirmed during the audit's June 2024 site visit, which explicitly noted they had "addressed several of the issues raised in the 2013 facility inspection."
• The new site also enabled the IAC to implement an Emergency Response Management Plan and an Integrated Pest Management Plan, both new measures not mentioned as being in place previously.
• The facility achieved Category A designation in July 2024 from the Department of Canadian Heritage after a CCI technical assessment, confirming it meets standards for the proper care of cultural property.

Gaps that remain at the new temporary storage facility included:

• Security cameras were not yet operational at the time of the audit.
• Incomplete HVAC maintenance records; a March 2023 water leak from HVAC plumbing damaged three artworks.
• Inspection documentation was missing, the IAC did not retain records of physical inspections or of checks done during the move.
• Oversight and governance weaknesses, outdated policy instruments, and lack of lifecycle costing remained systemic issues unrelated to the facility's physical setup.
• The IAC still used third-party storage without a contract, creating separate compliance and control gaps.

The audit confirmed that a professional inventory system and conservation partnerships are in place, while identifying the need to update policies, strengthen documentation and oversight of recordkeeping, and formalize third-party storage and contracting practices.

The audit found that while the Indigenous Art Collection benefits from a professional inventory system (Mimsy XG) and established partnerships with conservation experts, several areas require strengthening to ensure full compliance with federal policy instruments and to mitigate operational risks. Specifically:

• Policies and procedures: The IAC's Collection Management Policy and Procedures remains in draft form and has not been formally approved or implemented. The last approved version dates back to 1990, meaning roles, responsibilities, and standards have not been updated to reflect current practices or Treasury Board policy requirements.
• Recordkeeping and documentation: Although the Mimsy XG database provides reliable tracking of artworks (audit testing found no discrepancies in sample verification), the audit observed that ad hoc inspections, conservation records, and condition reports were not consistently documented or retained, limiting oversight of the Collection's physical state.
• Third-party storage and contracting: The audit noted that artworks stored at an external facility were being managed without a formal contract in place. This raises accountability and risk management concerns, as CIRNAC did not have a legally binding agreement outlining roles, responsibilities, or performance expectations regarding environmental and security conditions.

The audit also observed several opportunities for improvement including those related to governance, oversight and security of the collection. The audit resulted in 5 recommendations to address these findings. Management has accepted all the recommendations and is implementing them. The five recommendations of the audit are:

1. The Corporate Secretary should ensure that its policy instruments for the management of the Indigenous Art Collection are updated, approved, and implemented with clearly defined roles and responsibilities for protection, preservation, and promotion activities in accordance with the TB Directive on Material Management and acceptable standards for the care of assets with heritage value.
2. The Corporate Secretary should review the continued need to outsource additional storage space over immediate and longer-term timelines and ensure that an appropriate contractual framework be put in place to manage risks related to third party storage of the Indigenous Art Collection.
3. The Corporate Secretary should implement monitoring and oversight processes to ensure that appropriate levels of senior management are aware of matters regarding the management of the Indigenous Art Collection, including adherence to its approved policy instruments.
4. The Corporate Secretary should:
   1. Perform a baseline costing analysis to identify the levels of effort and associated costs for implementing and complying with current acceptable standards regarding protection, preservation, and promotion requirements over the life cycle of the art pieces within the Indigenous Art Collection and use it for budgeting purposes; and
   2. Implement processes to periodically update cost analysis.
5. The Corporate Secretary should ensure that physical security, environmental, and recordkeeping controls are suitably designed and are operating in accordance with its policy instruments and acceptable standards for the care of assets with heritage value, and that sufficient documentation is retained to demonstrate that controls are properly implemented and effectively operating.

Management action plan

The Department has accepted all recommendations made through the recent internal audit and implemented additional measures to address its findings.

The audit identified gaps in record keeping of the Department which have since been actively addressed. As part of its action plan in response to the audit, the Department has taken important steps to formalize and document its processes and policies and reinforced security and contracting practices ensuring safekeeping and conservation of the Indigenous Art Collection under its care.

Below is an update on the implementation of the actions outlined in the management action plan for the audit:

ATIP on unaccounted for artwork

The Department has recommended a full redaction of all requested information related to artworks listed as "unaccounted for" under the Access to Information and Privacy Acts. The Indigenous Art Collection is a ‘Category A' federal heritage collection of Indigenous artworks, and as such, much follow museum collection management practices. In collections management, "unaccounted for" refers to a temporary gap in location tracking or data, not removal from the Collection. These artworks remain part of the Collection while investigations are ongoing. Only after exhaustive efforts and confirmation that an artwork cannot be located is it formally deassessioned, at which point artists are notified and provided with relevant context.

Disclosure of this status before deaccession could reasonably be expected to cause harm to individuals, including artists, their families, and their estates, by exposing them to reputational damage, financial exploitation, or targeted theft. Releasing this information prematurely may also create unnecessary confusion and stress for affected artists. These exemptions are applied to protect personal information and ensure the safety and privacy of individuals, consistent with the Act's intent to balance transparency with the protection of sensitive interests.

The file is currently being analyzed be the ATIPO.

Space, Physical, Environmental, and Security Requirements

Improvements since internal audit

Senior management has been provided with regular updates on Indigenous Art Collection operations. Oversight roles and responsibilities will be clarified and documented and internal processes and procedures are being reviewed and strengthened.

Below is an update on the implementation of the actions outlined in the management action plan for the audit:

roman numeral 1i. Current costs

A baseline costing analysis is underway to identify the resources needed to sustain the Collection. This analysis will inform future budgets and support long-term planning and costing will be updated regularly to reflect evolving standards and needs.

roman numeral 2ii. Projected annual cost to store the full collection at current 3rd party facilities

Storage only. Does not include transportation costs, tech fees, prep, etc.

Considerations:

• Average cost of 3rd party storage per piece is $164.25
• Art Zone's Ottawa facility does not have the capacity to store the rest of the collection from 161 Goldenrod. The nearest designated Fine Art Storage is Pacart in Montreal.
• Current average annual vault maintenance costs paid by the Corporate Secretariat are $6,600.

roman numeral 3iii. Moving

Considerations:

• This cost projection assumes a move within the National Capital Region (NCR). Any move outside the NCR would significantly increase moving costs. This projection does not include the costs to move the Archive, Prep-room, Office Furniture, Vault Furniture, and specialized equipment. Fine Art Shipping: transporting all works from 161 Goldenrod to take at 58 trips at the current shipping rates of $1,600.00 per shuttle.
• The duration of the last move was split over 3 fiscal years. This is not possible given requirements to vacate 161 Goldenrod by March 2027. The physical move would take a minimum of 10 months and may require additional human resources to complete.
• The IAC has consolidated over 1,000 works from Art Zone and brought them to 161 Goldenrod that were never stored at 10 Wellington, and an additional144 new pieces have been added to the collection. This growth is factored into moving cost projections.
• The last move commenced during COVID-19 pandemic and was therefore limited to internal staff. The Arts Centre had 11 employees that assisted with the move (9 FTEs and 2 casuals). The Arts Centre currently has 5 FTEs. Given the accelerated timeline and growth of works at 161 Goldenrod, an additional 5 full-time staff members are needed to complete the work. Further analysis should be conducted to identify potential cost savings by contracting a fine art handling technician company to support the move.

roman numeral 4iv. Fit-up

ISC Accommodations reviewed the previous Standard Services Agreement (SSA) related to the Art Vault refit at 161 Goldenrod. Based on 2020 costs, they estimate the total investment at a Class D value of approximately $1.2 million.

roman numeral 5v. Stabilization and repair costs

These are the projected costs to complete all conservation and repair activities for works that are currently in queue. Costs estimates are based on an average per piece using historical data as reference. As such, estimates may not fully reflect actual costs. These estimates include transportation required to complete repairs.

Repairs and conservation activities are conducted annually and determined based on yearly budget and a needs assessment. Works which have been requested for loan that are not in acceptable condition are prioritized. Within Collection Management, pieces are conserved as needed and it is not a best practice to have all required conservation completed at all times.

Acquisition Insurance

The collection is Self-Insured according to the TBS Guideline on Self-Insurance which provides a framework for managing risks associated with valuable assets, such as the Collection. By adopting self-insurance, the Department can effectively allocate funds to cover potential losses or damages to the collection, ensuring its preservation and protection.

An example of other federal art assets being self-insured is Global Affairs Canada. This approach allows for tailored risk management strategies that reflect the unique cultural and historical significance of the artworks. Additionally, self-insurance promotes proactive measures to mitigate risks, such as enhanced security and conservation efforts, while also offering financial flexibility and control over resources. This ensures that the department can maintain and safeguard its art collection in a sustainable and cost-effective manner.

Terms of the Agreements

These agreements include terms such as:

• Provisions related to damages;
• Information about the artworks loaned and their condition;
• Term of the loan;
• Credits and royalties to the artist;
• All fees assumed by the borrower associated packing/shipping;
• Mandatory insurance paid by the borrower (Fine Art Insurance Policy);
• Handling of the artwork by qualified fine art handlers; and
• Modalities for security.

Loan Process

Interested borrowing institutions contact the IAC to discuss needs, proceed to viewings, then notify the IAC of which works they would like to borrow. If both parties agree to the terms, a written agreement is signed.

The duty of shipping artworks is assigned to the borrowing institution, including payment for fees. Fine Art Shipping companies are contracted by the borrowing institution for the purpose of transporting artworks.

Prior to being packed, the IAC inspect the artwork, compare the condition against any pre-existing condition report, and (if differences), completes a new condition report. Any "outgoing" condition report is provided to the borrowing institution.

Throughout the process, data is updated in the CMS that tracks change is custody of the artwork. This will also include any condition notes that may have been made.

When a loan is completed, the borrowing institution assumes shipping. Once received, the artwork's condition is compared against outgoing condition report and then put into storage in the Vault Space. When required, the IAC will work with the borrower for costs related to conservation.

Borrowers from Other Government Departments

Other Government Departments work with the IAC to borrow digital copies of artworks in the Collection (with permissions from and fees paid to artists) for the purpose of reproduction Loan documents are linked to the Collections Management System (CMS).

Direct Economic Benefits

Since 2012, the Department has attributed $256,156.00 per year (on average) directly to the Indigenous Artists Community to purchase, exhibit or reproduce their artwork.

Through its biannual acquisition program, the Indigenous Art Centre purchases artworks directly from the artist, the price of sale set by the artist themselves. Jurors are directly compensated for their time and expertise.

The IAC facilitates loans to both national and international institutions, who are required to pay artist fees directly to the artist. In fiscal year 2022-2023, the IAC loaned 227 artworks in 33 loans to 26 different institutions. This resulted in approximately $107,825 in Canadian Artists' Representation (CARFAC) fees for the artists in the Collection.

During Exhibitions at the Indigenous Art Center Gallery, the Department provided all artists whose works are being presented the appropriate CARFAC fees. Over a 5 year span between 2015-2020 the IAC hosted 14 exhibitions, displayed 172 artworks and paid over $57,118 in exhibition fees to artists.

The IAC hires and compensates Indigenous curators and arts administrators to curate and mount exhibitions in the Indigenous Art Centre Gallery. As part of IAC's external programming efforts, Indigenous artists and arts professionals are contracted to provide their services. This includes hiring artists to lead workshops and hiring curators and artists to speak at public-facing events.

On occasion, the IAC conducts special Projects, such as the IAC Reference Book. Indigenous Art Professionals were compensated to run the program, for their time in contributing materials and knowledge. The project also provided reproduction fees to artists for the use of the images pertaining to their work.

Indigenous Art Professionals and Elders' services are regularly called on to provide recommendations on best practices, cultural needs of the Collection, and other advice.

Indirect Economic Benefits

The biannual acquisition focuses on acquiring directly from up and coming and mid-career artists, which supports their continued professional development and ultimately increases the value of their work for future sales.

The IAC does not charge borrowing fees, therefore it increases borrowing accessibility to cultural centers and their exhibition funding can be redirected to directly benefit artists.

Through its external loan program in 2018, The IAC worked with the Department of Heritage on an Exhibition titled, "Art in the Courtyards presents Traces: Indigenous Artists Moving through Memory", a public art exhibition of works reproduced from the Collection. $26,760 was paid out to artists in copyright and exhibition fees.

The IAC does not hold copyright on any works acquired, therefore all fees are returned to the artist when their work is used by institutions and publications.

As researchers come to the Indigenous Art Centre Archive and learn/write/access the resources, it facilitates greater awareness of artist's careers and spotlights their achievements in academic and popular publications leading to an increase in notoriety and awareness of their practice, which further leads to sales of their works to other private collectors and institutions.

The IAC keeps Category A status as defined by the Cultural Property Export and Import Act. This allows us to apply for income tax receipts with CCPERB, allowing artists who wish to donate their works to have an economic benefit. Without this status, the donating individuals would not be able to receive income tax receipts and would therefore not receive any tax benefits. In addition, the donated artwork is labeled as certified cultural property identifying it as having outstanding significance and national importance.

Key Messages

• The Director of the Indigenous Art Centre plays a critical leadership role in preserving, promoting, and advancing contemporary First Nations and Inuit art at national and international levels. This role is integral because it safeguards Indigenous artistic heritage, amplifies Indigenous voices, and aligns departmental priorities with reconciliation and cultural preservation goals.
• Responsibilities for this position include:
  • Strategic Leadership: Directs policy and programs to promote and preserve contemporary Indigenous art nationally and internationally.
  • Cultural Advocacy: Serves as the key liaison with Indigenous communities, government, and art institutions to uphold cultural values and artists' rights.
  • Resource Stewardship: Manages collections, exhibitions, and budgets while ensuring compliance with legislation and ethical standards.
• This position is challenging to staff as the essential qualifications include a rare combination of specialized expertise and operational leadership.
• The role requires comprehensive understanding and a lived knowledge of First Nations, Métis, and Inuit art, culture, and contemporary issues, alongside curatorial practices and mandatory bilingual proficiency, which significantly reduces the available pool of candidates. It also involves navigating complex relationships with Indigenous communities, government departments, and national and international art institutions, often under sensitive cultural and political circumstances.

Current Status

• The position is currently vacant, however, the Department has put in place temporary support by reallocating responsibilities to other managers and executives within the organization and focusing on leveraging existing expertise within the team until a permanent staffing solution is secured.
• The Department's efforts to staff the position have included active networking and consultations with key partners to identify potential qualified candidates.
• An external selection process was run in 2022 but there were no successful candidates at that time. The process was launched upon the departure of an incumbent who occupied the position from 2017 to 2022.
• In parallel, the Department is reviewing the organizational structure to ensure alignment with program priorities and to optimize the delivery of Indigenous Art Centre mandates.

Q1. Why were there 132 artworks identified as "unaccounted for" in the recent internal audit of the IAC?

A1. The internal audit were informed that 132 works in the IAC's Collection were flagged as "works not accounted for" in the following eras:

Key points:

• The audit found no evidence of theft or mis-intention under current management.
• Modern systems – An electronic, museum industry standard Collections Management System (CMS) and a centralized, secured storage facility are now in place to mitigate recurrence.
• The audit action plan includes reconciliation of legacy items, resolving duplicate records, and documenting process for recovery/notification of missing works.

Q2. What is the difference between "unaccounted for" and missing?

A2. In the sphere of artwork, more specifically collections management, "unaccounted for" pertains to a gap in location tracking or data. Missing indicates a more certain absence or loss, that is less likely to be resolved.

Given that Art Centre staff accounted for 12 works, of the 132 noted by the audit, "unaccounted for" is a more accurate term.

Q3. How is it that additional artworks were recorded as unaccounted for up until 2023, after the internal loan program had ceased, works had been removed from Regional offices and HQ, and upgrades had been completed to the collection management system?

A3. Artworks may have become dissociated through duplication in record-keeping for some of the pieces flagged as unaccounted for.

Dissociation refers to the unintentional loss of information or physical connection between an object and its associated documentation. This occurs when records, labels, or documentation become separated from the object, or when digital data is lost or corrupted. This is critical because the value of an artwork is related to its provenance and context.

Resolving dissociation involves restoring the link between objects and their documentation through a number of different options. At the IAC it can potentially involve:

• Reconstructing information through provenance research and consultation.
• Physically identifying objects and reassigning identifiers if needed.

Q4. Were any of the "unaccounted for" artworks deaccessioned?

A4. None of the artworks identified as unaccounted for have been deaccessioned from the Indigenous Art Collection. Given Art Centre staff are continuing their efforts to identify possible duplicate records, and locate artworks, it would be pre-mature to deaccession an artwork before a full investigation is completed.

Q5. Have the affected artists been notified that their pieces are "unaccounted for"?

A5. No. artists have not been advised of the status of their artworks. The Indigenous Art Collection is a ‘Category A' federal heritage collection of Indigenous artworks, and as such, must follow museum collection management practices. Within collection management, "unaccounted for" refers to a temporary gap in location tracking or data, not removal from the Collection. These artworks remain part of the Collection while investigations are ongoing. Only after exhaustive efforts and confirmation that an artwork cannot be located is it formally deaccessioned, at which point artists are notified and provided with relevant context.

Disclosure of this status before deaccession could reasonably be expected to cause harm to individuals, including artists, their families, and their estates, by exposing them to reputational damage, financial exploitation, or targeted theft. Providing this information prematurely may also create unnecessary confusion and stress for affected artists. The IAC has the responsibility to protect personal information and ensure the safety and privacy of individuals, consistent with sections 17 and 19 of the Access to Information Act's intent to balance transparency with the protection of sensitive interests.

Q6. Was the internal audit triggered by a security incident or material loss of Indigenous art?

A6. No. The audit was a proactive measure undertaken after the IAC began major relocation and modernization of its facility and systems.

According to the audit:

• The objective was to assess the adequacy of the management control framework over acquisition, preservation, protection, promotion, de-accession/disposition of the Collection.
• The audit was included in CIRNAC's approved 2022-23 to 2023-24 Risk Based Audit Plan rather than triggered by a breach.
• Thus, the audit reflects good governance and risk management practice – verifying that the updated facility, electronic systems and security protocols are effective.

Q7. How secure is the Indigenous Art Collection now, and how does the storage facility meet standards?

A7. The IAC has undertaken significant upgrades in storage, environmental control, and security. Highlights:

• The Collection relocation in 2022 to a facility managed by Public Services and Procurement Canada (PSPC) in the National Capital Region, addressing deficiencies identified in prior facilities.
• The new vault meets Category A designation standards under the Cultural Property Export and Import Act (via Heritage Canada) – requiring climate control, professional storage, environmental monitoring and public-access gallery space. It also meets RCMP standards for physical security.
• Formal third-party specialized storage contracts have been finalized for a small portion of the Collection (<8%) and annual cost is publicly cited (~CAD $86,075 for April 2025 – March 2026).
• Environmental/pest management plans, 24/7 access monitoring, and restricted vault access are all part of the strengthened controls.
• Therefore, the current storage, security and tracking regime aligns with professional museum standards and addresses the major past risks.

Q8. Why is the IAC considering whether CIRNAC remains the best steward of the Indigenous Art Collection?

A8. The audit found that while many controls are in place, "consideration should be given as to the extent to which the Indigenous Art Collection is best suited to remain under CIRNAC."

Q9. What measures are in place to ensure long-term funding and lifecycle preservation of the Collection?

A9. The audit identified the absence of up-to-date processes to estimate and budget full lifecycle costs related to the Collection.

Q10. How does the IAC’s lending program manage risk – especially with works going out of the country or to external institutions?

A10. The IAC's lending program is designed following professional museum practice:

• Loan agreements include condition reports, borrower responsibilities for shipping, insurance, handling, packing and security.
• Borrowers must carry fine-art insurance and use qualified fine-art shippers.
• As of Oct 30, 2025, 148 works were on loan; historically, 190 works were on loan in 2019.
• The IAC suspended its previous internal loan program in 2017 due to risks of poor tracking and preservation.
  • Thus, risk is managed through robust loan contracts, professional standards, insured shipping, condition tracking, and focused external exhibition lending rather than informal internal loans.

Q11. Are the stored artworks accessible to the public in any way? Is there a catalogue that the public can consult?

A11. As part of its Category "A" designation, the Indigenous Art Centre is also responsible for the Indigenous Art Gallery, located in the lobby of the headquarters of Crown–Indigenous Relations and Northern Affairs Canada at 10 Wellington Street, Gatineau (Quebec). This gallery allows the Indigenous Art Centre to promote the Collection and make it accessible to the public through Indigenous curated presentations in order to raise awareness of the history of Indigenous peoples in Canada and the contemporary issues they face in Canadian society.

Although the IAC gallery is currently closed due to renovations at Les Terrace de la Chaudière, staff are dedicated to making the collection accessible to curators, researchers, and members of the public through loans, exhibitions, and on demand. It was confirmed during a Canadian Conservation Institute (CCI) inspection (On behalf of Heritage Canada) in March 2024 that there is sufficient space in the storage facility to welcome visitors safely.

All artworks are accessible to the public, upon request, through research inquiries, curatorial projects, and loan programs (to galleries, museums, and cultural centres). The Indigenous Art Centre is currently working on a public catalogue project that would be available online (No timeline to completion).

Q12. Some media report that the government "lost" Indigenous artworks – how is the IAC responding to publicly-reported concerns?

A12. Multiple media outlets (Times Colonist, Winnipeg Free Press) reported that the federal government could not account for 132 Indigenous artworks. The Department:

• Acknowledges the audit finding of 132 works "not accounted for," with an approximate replacement value of CAD $48,878.
• Confirms no losses or thefts under current controls.
• Emphasizes ongoing improvements: third-party contracts, electronic CMS, secure storage, Indigenous-governance engagement.

Q13. How does the IAC align with Indigenous cultural rights and reconciliation objectives?

A13. The IAC's mandate directly advances reconciliation and Indigenous cultural rights through:

• Preservation of contemporary Indigenous art and cultural heritage, supporting Indigenous control, protection and development of traditional cultural expression (aligning with UNDRIP Articles 11 & 31).
• Indigenous-led acquisition jury, compensation directly to Indigenous artists, and support of economic and cultural capacity.
• Outreach program with relationships across 560 artists and 489 institutions nationally.
• Exploration of Indigenous-led custodianship or co-governance to increase Indigenous decision-making over collection stewardship.
• By actively promoting Indigenous art, compensating artists, preserving heritage, and exploring Indigenous leadership, the IAC supports both cultural rights and reconciliation frameworks.

Q14. What are the principal risks the IAC and CIRNAC need to manage going forward?

A14. Principal risks include:

1. Governance and oversight – There is a risk that effective governance and oversight over the activities to acquire, preserve, protect, promote, de-access and dispose of the art pieces held within the Collection over their lifecycle may not be in place.
2. Funding – There is a risk that adequate processes for estimating the costs required to acquire, preserve, protect, promote, de-access and dispose of art pieces and for informing funding decisions regarding the Collection may not be in place, impacting the Department's ability to consistently meet requirements entrusted upon it for safeguarding the Collection.
3. Preservation & Storage – There is a risk that effective processes and key controls to support preservation, protection, and recordkeeping may not be in place, which increases risk of lost or damaged pieces.
   • CIRNAC has responded through the audit action plan, strengthened controls, updating storage, and Departmental oversight – but sustained management is required.

Q15. What is the timeline and next steps for implementing the audit recommendations and possible transfer of the Collection?

A15. Key timeline and next steps:

• By March 31 2025 (already passed): approval of updated policy instruments, formal third-party storage contracts, oversight framework established (audit management plan). Draft completed with updated timeline by March 31, 2026.
• By end of Fiscal Year 2027-28: aim to relocate to a permanent dedicated storage facility, reducing reliance on external vendors.
• Mid-term: conduct Indigenous-led feasibility study on custodianship models (full transfer to Indigenous institution, hybrid trust, or co-governance).
• Ongoing: Lifecycle cost monitoring and periodic audits.
• Monitoring: Biannual senior management reports to the Deputy Minister.

Q16. How will the government ensure that public money invested in the IAC and the Collection delivers value and accountability?

A16. Value and accountability are delivered through multiple mechanisms:

• Peer-juried acquisition ensures excellence and fairness in artist selection.
• Direct economic benefits to Indigenous artists (average CAD $256k/year) show tangible return on investment.
• Lending programs provide national/international exposure for artists and cultural promotion.
• Audit process and management action plan ensure controls, transparency and oversight.
• Publicly posted audit reports (e.g., IAC audit published Oct 2025).
• Forward strategy aims to embed Indigenous governance, digitization and lifecycle planning – maximizing cultural, social and economic benefit per dollar spent. In this way, the program meets its cultural mandate while being accountable for federal investment.

Q17. In light of Indigenous artists' concerns about counterfeit art and cultural appropriation, how is the IAC contributing to addressing those challenges?

A17. While the IAC is primarily a collecting and stewardship program (not enforcement), the broader cultural ecosystem is relevant:

• A 2022 article noted Indigenous artists in Canada are impacted by counterfeit First Nations art (estimated losses in a USD $1 billion industry) and seek government support.
• The IAC contributes by:
  • Acquiring artworks directly from living Indigenous artists, ensuring that the artwork in the Collection's provenance cannot be called into question.
  • Promoting Indigenous artists and their work internationally, raising visibility of Indigenous art.
  • Planning for digitization and public cataloguing improves provenance tracking and transparency.

Q18. What will the Department do if future fiscal constraints require further deferral of acquisitions or reductions in support to the IAC?

A18. The IAC is conscious of fiscal constraints and has taken the following measures:

• The 2024-25 acquisition cycle was deferred due to fiscal pressure, but submissions are retained and the peer-juried process remains intact.
• Lifecycle costing work is underway to better align budget with obligations and reduce unexpected costs.
• Forward strategy includes partnerships with professional institutions and Indigenous-led custodianship models which may create efficiencies and reduce federal burden.
• The Department will prioritise key expenditures: preservation of existing collection, storage security, artist remuneration, rather than expansion in new acquisitions during lean budgets.
• If further deferrals arise, the Deputy Minister will provide public transparency on decisions, criteria for deferral (e.g., fiscal, capacity, artist support), and timeline for resumption.
  • CIRNAC is committed to responsible fiscal management while preserving core stewardship obligations and artist support.