The world’s fair held in Montreal during the summer of 1967 seemed to cast a spell on many people who visited it, while a sense of quasi-magic futurity even touches people who only encounter Expo 67 virtually – through stories, images, and souvenirs. My own expo-mania flourished when (with Rhona Richman Kenneally, a colleague in Concordia’s Design department), we organized an exhibition of Expo 67 souvenirs at the Canadian Centre for Architecture (2005), and co-edited the book, Expo 67: Not just a souvenir (2009). Scholarly work on Expo 67 has continued, and in 2014 I contributed to another book, Reimagining Cinema: Film at Expo 67, writing about the Kaleidoscope Pavilion – an expanded-cinema experiment commissioned by chemical companies, but that struck many visitors as "the ultimate psychedelic experience." As 2017 will be the 50th anniversary of Expo 67, it looks like another surge of interest in this historic event is upon us.
Expo 67 souvenir bank
Andy Warhol, Buckminster Fuller and others in the U.S. pavilion
Kaleidoscope Pavilion exterior with hostess
Postcard of Canada, Ontario, and Quebec pavilions
Soviet hammer & sickle symbol outside USSR pavilion
"The Kaleidoscope Pavilion." In Reimagining Cinema: Film at Expo 67. Edited by Monika Kin Gagnon and Janine Marchessault. Montreal and Kingston: McGill-Queen’s University Press, 2014. PDF
"Buckminster Fuller at Expo 67." Paper delivered at "Fuller in Montreal" symposium at Dawson College, Montreal, April 2012.
"Postcards and the Chromophilic Visual Culture of Expo 67." In Expo 67: Not Just a Souvenir. Edited by Rhona Richman Kenneally and Johanne Sloan. Toronto: University of Toronto Press, 2010. PDF
"Countercultural War Machines in Montreal: Greg Curnoe’s "Dorval Mural" and the Ti-Pop Submarine at Expo 67." Paper delivered at the Association of Art Historians conference, University of Ulster, Belfast, April 2007.