Montreal, July 7, 2025 — In 2025, the Contemporary Art Galleries Association (AGAC) celebrates its 40th anniversary, marking four decades of commitment to the defense and promotion of contemporary art.
AGAC’s story began in Montreal in 1985, when about twenty gallery directors, facing shared challenges, came together to form what was then known as the Association des galeries d’art contemporain de Montréal (AGACM). Their goal was to create a strong, unified, and supportive voice. As Lorraine Palardy, founder of Les Impatients and former chair of AGAC’s Board of Directors, recalls:
“We tried to open up this association along other avenues, by solidifying ourselves with other partners. There were a lot of people around us who wanted AGAC to succeed. We could feel the support of artists and galleries alike.”
First flagship projects
From its earliest years, AGAC quickly established itself as a leading force in the visual arts sector and the Canadian art market. Major initiatives such as L’Entrée libre à l’art contemporain (1987–1994), ETC magazine (1987–1992), the Louis-Comtois Award (1991–present) and the Pierre-Ayot Award (1996–present), Peinture Peinture (1998), La Grande Virée (1995–1997), and the Salon du printemps (2002–2004), among others, helped shape its identity.
These projects also allowed the Association to broaden its scope and ambition. As Isabelle Lelarge, AGAC’s Director from 1988 to 1990, recalls: “The quality of these events has enabled, each time, the emergence of a very lively, rich and creative art scene.”
Here are three early landmark projects, each reflecting the dynamism, vision, and influence that have shaped AGAC’s mission since its beginnings. Together, they laid the foundation for the Association’s lasting presence in Canada’s cultural landscape.
L’Entrée libre à l’art contemporain (1987 – 1994)
In 1987, AGAC launched L’Entrée libre à l’art contemporain (ELAAC), Montreal’s first art fair dedicated exclusively to contemporary art.
Over the years, the fair was held at several venues, including the Galerie des arts Lavalin, the Cité de l’image, and the Place Bonaventure. Various editions welcomed galleries from Austria, the United States, Belgium, and Mexico. Free and open to the public, ELAAC brought together over 30 galleries and 600 artists from Quebec and abroad, attracting up to 20,000 visitors over four days at its peak. For a time, it stood as the only contemporary art fair in Canada. ELAAC also sparked several noteworthy initiatives, such as Coups de cœur—exhibitions spotlighting emerging artists—and Art brut, which featured works created by patients from the Louis Hippolyte Lafontaine Hospital.
In 1994, the fair evolved into a new format under the name Foire d’art contemporain (FAC), held at the Belgo Building on Sainte-Catherine Street.
ETC MONTRÉAL (1987 – 1992)
Between 1985 and 1987, AGAC took over the publication previously produced by the Association des galeries du Haut St-Denis—the Guide ETC, which compiled news about galleries, museums, and other visual arts institutions in the Montreal area.
In 1987, the Association launched the quarterly periodical ETC MONTRÉAL, which covered and debated contemporary visual arts news. Featuring short essays, exhibition reviews, artist interviews, and more, the magazine sought to engage the general public with contemporary art while reflecting diverse viewpoints and fostering new dialogue within the arts community.
The magazine became independent in 1992 and continued publishing until 2013.
La Grande Virée (1995 – 1997)
For three editions, AGAC organized La Grande Virée, a tour through about fifteen contemporary art galleries in Montreal.
Over the course of a weekend, shuttle buses transported visitors from one gallery to another, where special events were held and guides were available to answer questions. In a festive atmosphere, the public was invited to discover the Association’s member galleries and, in doing so, to experience a range of activities showcasing the best of visual arts production in Quebec.