We know immediately upon encountering the work of Canadian artist and poet Carmen Papalia that he can’t see very well. Signifiers of the artist’s visual impairment are at the center of Papalia’s multimedia installations, whether in the form of altered white canes, or in still- and moving-image documentation of projects in which Papalia re-imagines the meaning of “access,” particularly in museums that purport to care about outreach, education, and diversity, but accomplish little more than marketing campaigns. Papalia wants to change this. First and foremost he wants to change this for himself, but we get to come along too, buoyed by the enormous generosity, wit, and mischievousness that flows through the artist and his work. Papalia even invites us to engage him directly, installing his contact information on the walls of his exhibitions.