Sameer Farooq is a Canadian artist of Pakistani and Ugandan Indian descent. With a versatile approach that shifts between sculpture, photography, documentary film, and anthropological methods, he investigates strategies of representation to expand the ways through which museums have looked at the past through traditional forms of collection, interpretation and display. Farooq foregrounds community-based models of knowledge production and an array of contemplative practices in order to suggest new ways of narrating our cultural histories. The result is often a collaborative work which counterbalances how dominant institutions speak about our lives: a counter-archive, new additions to a museum collection, or a buried history made visible. Together with the public he works to redress the role of exhibition and collection-based practices by employing decolonial, queer, and critical race lenses.

Farooq has held exhibitions at institutions around the world including the Venice Biennale (2023), Rijksmuseum van Oudheden (2023), Fonderie Darling, Montréal (2022); Susan Hobbs Gallery, Toronto (2022); Koffler Gallery, Toronto (2021); Patel Brown Gallery, Toronto (2021); Lilley Museum, Reno (2019); Aga Khan Museum, Toronto (2017); Institute of Islamic Culture, Paris (2017); Contemporary Art Gallery, Vancouver (2016); The British Library, London (2015); Maquis Projects, Izmir (2015); Artellewa, Cairo (2014); and the Art Gallery of Ontario,Toronto (2011). Reviews dedicated to his work have been published by Art Forum, Canadian Art, The Washington Post, BBC Culture, Hyperallergic, Artnet, The Huffington Post, and C Magazine.