Rebecca Belmore RCA (born March 22, 1960) is a Canadian interdisciplinary Anishinaabekwe artist who is notable for politically conscious and socially aware performance and installation work.

[1] To address the politics of representation, Belmore's art strives to invert or subvert official narratives, while demonstrating a preference for the use of repetitive gestures and natural materials.

[9] Author Jessica Bradley describes Belmore's adolescence as difficult due to "the custom ingrained through the [Canadian] government imposed assimilation, she was sent to attend high school in Thunder Bay and billeted with a non-Native family."

Bradley adds that as a result of her experience as an adolescent, notions of displacement and cultural loss are "reformed into acts or objects of reparation and protest [within her various works]."

In 2005 her work Fountain was shown at the Canadian Pavilion of the 51st Venice Biennale, as the first aboriginal artist ever to represent Canada at the event.

[18] In 2010, Belmore was involved in a legal dispute with the Pari Nadimi Gallery of Toronto, that sued her for punitive damages and for lost future revenues to $750,000.

[23][24][25] Curated by Wanda Nanibush, Facing the Monumental incorporates sculptures, installations, photography and videos spanning 30 years of Belmore's career.

Journalist Gabriella Angeleti described the piece in The Art Newspaper as "a critique of the historic genocide and ongoing disproportionate violence against Indigenous people," calling the work "a centerpiece" of the exhibition.

Visitors were invited to sit in each chair, put on the headphones, and listen to the stories of the struggles and triumphs of different indigenous women in Canada, told in their own voices.

[5] She is also a Governor General's Award in Visual and Media Arts (2013),[39][18] as well as the recipient of the 2016 Gershon Iskowitz Prize[40] and an honorary doctorate from Emily Carr University in 2018.