who, with curator Carolina Chacón and a group of sex workers based in downtown Medellín, developed in 2017 the award-winning cabaret/performance Nadie sabe quién soy yo (No one knows who I am). From then on, the performers funded the group Las Guerreras del Centro, a collective to highlight the lives and stories of sex workers through artistic performances, knitting circles and other community actions. Nadie sabe quién soy yo was the beginning of a series of curatorial and educational collaborations between Las Guerreras del Centro and the Museum of Antioquia. Such collaborative projects are destigmatizing and empowering critical museology practices that generate new spaces for exchanges and social dialogues. These spaces emerge from the museum, forge links beyond museum walls, and drastically transform the museum’s relationship with its social environment. Another example of a museum presenting a critical review of messages conveyed by the institution in the past can be found in the Royal Ontario Museum permanent exhibition, specifically in its Canadian history galleries. In this case, ROM curators have repurposed old dioramas as a way to reflect critically on past uses of dioramas to portray indigenous people’s cultures. The new ironic diorama questions this common practice in museums and points out the stereotypes such practices promoted in the past (e.g., the depiction of indigenous peoples as belonging to another time or somehow as primitive or extinguished cultures). Curatorial dreaming Curatorial Dreaming was originally developed as a challenge to museum critics, who are typically not expected to provide practical solutions to the issues they identify in the exhibits they critique, to develop their own imagined exhibitions. It is intended as “an alternative mode of critical, intellectual practice – a form of ‘theorizing in the concrete’”. Curating workshops, courses and labs Over the last three decades there has been a proliferation of curating workshops, courses, and labs that engage with New Museology and critical museology in museum spaces, in universities, and elsewhere. For instance, the Center for Curatorial Studies, Bard College in New York was founded in 1990 and began offering a graduate program in 1994. In Germany, the Centre for Anthropological Research on Museums and Heritage is engaging with the social, cultural, and political issues facing contemporary museums. In Canada, two of the most innovative curating labs are the Making Culture Lab at Simon Fraser University in Vancouver and the Curating and Public Scholarship Lab at Concordia University in Montreal,