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Fonds consists of the records of the life and work of Sorel Etrog, including his personal, professional and literary correspondence; records of exhibitions and of acquisitions of his work by various galleries and collectors; administrative records related to various projects and collaborations by the artist; preparatory and experimental works on paper (“study drawings”); a selection of preparatory maquettes for sculptures; publicity materials including exhibition invitations and press clippings; and comprehensive documentation (photographs and lists) of the artist’s finished work. Three paintings by art collector and patron Samuel Zacks are also included.

Fonds consists of personal and professional records of Canadian painter Jack Bush, created chiefly in Toronto during the 1930s to 1970s: his personal diaries; record books containing notes on his paintings; photographs (slides, transparencies, negatives and prints) largely of his paintings but also of his studio, exhibit installations and other subjects; with scrapbooks of newspaper and magazine clippings about the artist, exhibition notices, examples of his commercial art, and further records of his paintings.
Contains series:

1. Diaries
2. Record books
3. Photographs
4. Scrapbooks
5. Commercial art

Collection consists chiefly of illustrative works by Canadian graphic artist Thoreau MacDonald, including a portfolio of drawings for an unpublished illustrated edition of Henry David Thoreau’s study Walden and a volume of layouts for the novel Maria Chapdelaine by French author Louis Hémon. Collection also includes some correspondence.

Fonds consists of records of the artistic and academic career of Barbara Astman, chiefly in Toronto from the 1960s to the second decade of the 21st century, including photographs of her projects and exhibitions, correspondence and textual documentation of projects, personal and other photos and journals, and some audiovisual materials.

Fonds consists of Suzy Lake’s documentation of her artistic projects and exhibitions, records of her teaching activity at the University of Guelph, trial proofs used in the production of photo murals, and an example of early experimental work by the artist. Fonds also includes Lake’s grandfather’s sketchbook from his studies at the Detroit Institute of Arts.

Fonds consists of corporate records of Gallery Moos, including files on artists and associated dealers and galleries, art fair participation and travel, business correspondence, publishing and administrative records and the records of David Moos and gallery director Gerard Jennings. Fonds also contains the gallery’s published material, including exhibition invitations and catalogues, posters, and limited edition publications. Two films on gallery artist Gershon Iskowitz are also included.
The accrual of 2004 consists of Series 8 and Series 9, listed below. In 2012 the accrual of material from Gallery Moos augmented Series 1–6, 8 and 9, and added Series 10–14.

Fonds consists of documentation of Peggy Gale’s career as an independent writer and curator in Canada with projects in the US, Europe, Brazil, and Japan. Accumulated content includes records of curated exhibitions, publications, photographs and slides, ephemera, essays, biographical information on artists, Gale’s research notes from various projects, written correspondence with artists and artist run centres, and audio recordings of lectures and interviews.

Fonds consists of personal and professional records of Michael Bidner, primarily created during the mid-1970s to 1989. Files pertain to various projects during Bidner’s artistic career and include working files, artwork, the artist’s publications, correspondence, ephemera, photographs and slides.

Fonds consists of documentation of Colette Whiten’s artistic career, including records of exhibitions, commissions, grants, awards, and experiments with materials. Documentation of Whiten’s public art collaborations with Paul Kipps is included. Fonds also includes records of Whiten’s teaching activity at several different institutions, including the Ontario College of Art.
Contains series:

1. Colette Whiten’s files
2. Teaching files
3. Documentation of art works
4. Project boxes
5. Experimental work and material samples
6. Publicity material
7. Personal / other photo documentation

Fonds documents Elke Town’s activity in the visual arts in Toronto between the years 1974 and 1991. The files are related to various positions she held, beginning with A Space in 1974, and the curatorial work she carried out at the Art Gallery of Ontario, Gallery 76 at OCAD, Art Metropole and as an independent curator. There are also files related to her writing about visual art and video for numerous publications such as C Magazine, Vanguard, Parachute and Canadian Art.