Megan Kammerer
Curator / Writer / Researcher

Exhibitions

  1. We Have The Cure
  2. A Lake Story
  3. Bathed in Strange Light
  4. la sombra que te cobija
  5. Second Shade
  6. Milestone Nerve
  7. To our reunited future
  8. Memories of the Mountain
  9. Shadow Games
  10. Spoiled Milk
  11. Every Beloved Object
  12. Prelude / Requiem
  13. Anoxic Memory
  14. Sutures
  15. Yesterday is Melting


Writing

Info


Megan Kammerer (she/her) is a curator and writer based in Toronto, Canada. She has held various positions with the Visual Arts Centre of Clarington, The Bentway, Robert McLaughlin Gallery, Blackwood Gallery, and the Art Gallery of Guelph where she worked to support critically engaged exhibition programmes across Southern Ontario.


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1. We Have The Cure





We Have The Cure
Visual Arts Centre of Clarington
January 31 - June 2, 2026

Artist: Kosisochukwu Nnebe
Curators: Megan Kammerer and Samantha Lance
Installation: David Wigley and Venus Nwaokoro

Production Assistance: Kayla Ward, Matthew Walker, Lucas Azevedo Cabral, and Nicole Banton,

Photo Documentation: LF Documentation


 In the beginning, there was a root. Cassava originated in South America and the Caribbean before becoming central to West African foodways. Now, it is a staple in Nigerian cuisine. However, this starchy vegetable must be carefully prepared to remove cyanide toxins from its flesh. The root has been pulled from the earth for generations by women who knew its dual nature—food and poison, sustenance and sabotage. Records tell us that enslaved Black women hid traces of the root beneath their fingernails, carrying a quiet insurgency in the smallest crease of the body. With each chore of service, these women courted the possibility of revolt. Their rage was righteous, and their hands became sites of strategy: nail beds as thresholds between survival and refusal, protection and empowerment.

Kosisochukwu Nnebe’s We Have The Cure is a multimedia exhibition that extends from the wake of this sisterhood. It asks what becomes of this ancestral tactic—this “poison feminism”—as it travels across oceans, centuries, plantations, marketplaces, and digital economies. What remains at the fingertips of women today, and how do their hands continue to engineer liberation in a world structured against their flourishing?

In Lagos, women build their own micro-economies from scratch—crafting adire cloth or providing access to cash through POS systems. In North America, nail technicians create similar sites of freedom, expression, and autonomy in salons. Their labour in each case is creative, entrepreneurial, and political. How can we learn from these ongoing traditions to uplift new avenues for community-building and emancipation? Perhaps, the cure has always been in our hands. It is not a single remedy, but a practice. It is the work of transmuting harm into healing—not by waiting for structures to change, but by actively building support systems with whatever materials are at hand.

This exhibition makes a proposal: we don’t have to get stuck in a cycle where we continually ruminate, theorize, and search for amorphous solutions to ongoing systems of oppression. The cure is already here. It courses through digital networks and marketplaces, in local rhythms of craftwork. It is held in the bodies, materials, traditions, and technologies that Black women have carried with them across generations. It’s female rage, relentless hustle, a bit of trickery, something hopeful and caring. The cure can be found with dye-stained palms, lacquered nails, fingers that continually make, resist, and reimagine. Liberation doesn’t need to be a distant horizon. It’s a community practice already pulsing, ready for action, at our fingertips.

We Have The Cure is organized by the Visual Arts Centre of Clarington with support from the Canada Council for the Arts, Ontario Arts Council, and the Government of Ontario.