Canadian author and poet Marlene Nourbese-Philip once argued that culture was not an insignificant site of struggle, but that its power lay in masking that very fact. There are perhaps no better masters of this disguise, none better at carrying off a complex masquerade, than our public museums (including art galleries), the focus of this special edition of the Journal of Adult and Continuing Education. Museums and art galleries present a fac¸ade of motionlessness and dispassion, yet they shape actively 'our most basic assumptions about the past and about ourselves' (Marstine, 2006, p. 1). These institutions look to be impartial, objective and 'detached from real world politics' (Phillips, 2011, p. 17), when in fact 'politics has always been a constant interruption to their imagined sanctity' (Macdonald, 1998, p. 177). Museums and art galleries appear solely to legitimise and maintain the status quo through selective stories or representational practices, yet there has been near constant questioning of their problematic assumptions about 'cultural production and knowledge' (Macdonald, 1998, p. 176; see also Marstine, 2006). 'Patriarchal barriers of power and control traditionally characterise museums' (Golding, 2013, p. 81) yet women have been present since their inception, and have contested acts of marginalisation (Levin, 2010; McTavish, 2008). And although preservation and conservation seem their most important mandates, these institutions are, by their own admission, first and foremost, pedagogical institutions (Bedford, 2014; UNESCO, 1997). This perplexing camouflage is perhaps one reason why museums and their exhibitionary practices have, for the most part, evaded the torchlights of adult educators searching for hopeful possibilities within the disorientating array of society's contemporary problems. But these societal problems are central to the studies and