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Exploring the Quirky World of Unwanted Gifts in Toronto

In a unique exhibition reminiscent of the Island of Misfit Toys from the beloved holiday classic Rudolph the Red-Nosed Reindeer, Toronto’s Northern Contemporary Gallery is hosting “The Museum of Bad Gifts.” This weeklong display showcases an array of gifts that have been given but not received well, setting the stage for a reflection on the art of giving and the awkward reality of receiving.

The exhibition features a curated collection of items that have sparked various reactions, rather than joy. Among these peculiar offerings are a framed piece of cat food packaging, a purloined hotel bathrobe, a gingerbread man crafted from astroturf, a carafe made from a cow’s hoof, a quirky “Muppet Calendar” CD-ROM, and a drinking glass humorously inscribed with “wine is win with an ‘e’ on the end!”

“Bad gifts are a universal experience,” comments Shari Kasman, one of the exhibition’s curators, in an interview with the Toronto Star. “Every corner of the globe has its share of gifts that simply miss the mark, whether due to obligation or misconception.”

Kasman, along with fellow curators and artists Stephanie Avery, Martin Reis, and Sean Martindale, conceived the concept while brainstorming ideas to utilize the gallery between Christmas and New Year’s—a time when many grapple with the aftermath of unwanted gifts.

In the lead-up to the exhibition, the gallery sought submissions, emphasizing that the definition of a “bad gift” is subjective and merits equal celebration. As Kasman explains, “One person’s bad gift can be another person’s treasure.”

Organizing this exhibition presented its own challenges, as participants wrestled with ethical dilemmas: What if the gift giver has passed away? Or how would a living gift giver feel upon seeing their present on display? However, the show is intended as a tribute to these awkward gifts rather than a negative assessment of the givers.

The gallery articulates this philosophy succinctly: “Whether given out of obligation, misguided judgment, or sheer indifference, bad gifts occupy a unique space in our lives and homes.” The aim of the exhibition is to spotlight these items, celebrating their awkwardness and the complex nature of gift-giving and receiving during the festive season.

Each item is accompanied by contextual descriptions written by the original recipients, providing insight into the stories behind these gifts. For instance, one participant noted their experience with a tube of pepper spray they received from their mother, which humorously ended with an unintended face spritz. Another shared a quirky gift meant for whimsical exchanges that turned out to be a bag of what they believed were cat nails—perhaps too strange even for a quirky exchange. A poignant story includes a textbook titled Solo Chef, intended for “widows and recently divorced dads,” gifted to a woman on her 29th birthday, illustrating the disconnect that sometimes occurs in gift-giving.

Some gifts may not be overtly offensive yet still provoke feelings of disappointment—like a stylish cheetah print phone purse given to someone who does not embrace trendy aesthetics. The response to these assortments often hinges heavily on the relationships between the giver and recipient, raising deeper questions about expectations and understanding.

Visitor Eva Stachniak reflected on her own experiences with generic book gifts, conveying the disappointment that someone who claims to know you well can still miss the mark entirely. “It’s the sadness that comes from the realization that someone you thought understood you genuinely doesn’t,” she shared.

The exhibition encourages participation beyond viewing, as a “wall of bad gift drawings” invites attendees to depict and describe the worst gifts they have received—ranging from a “ceramic clown” to other examples of unwanted items. Visitors can further engage by creating a “collaborative bad gift sculpture” using craft materials, allowing them to creatively reimagine the gifts they have received.

As sculptor Andy Fischer aptly notes, “There are bad gifts that are so bad they’re good. Those are the ones that truly resonate with me.” His own artwork features a Cabbage Patch doll, ingeniously made from peculiar found objects, exemplifying the humorous aspect of what many might categorize as a bad gift.

Entry to this unusual exhibition is free, but some items—including the aforementioned bag of cat nails—are available for auction. Proceeds from these silent bids will be donated to the Daily Bread Food Bank in Toronto, intertwining philanthropy with the celebration of unwanted gifts.

“The Museum of Bad Gifts” will be open to the public at the Northern Contemporary Gallery until January 5, 2025, offering a humorous and thought-provoking look at the complexity of gift-giving culture.

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www.smithsonianmag.com