Over the last decade exhibitions concerning human rights abuses have been pushed to the forefront of global museum and gallery practice. As a result, a number of human rights museums have been created which seek to specifically address global accounts of human rights abuses. This transformation has caused a variety of museum and gallery spaces to use the medium of the exhibition itself to tackle difficult and painful subject matter. In Canada, several types of institutions, gallery spaces and research collectives are actively participating in this strain of curatorial work by displaying human rights abuses that have occurred in Canada. This includes acts of discrimination, cultural inequality, violence, and genocide. My doctoral research project assesses the curatorial practices, methods of collections research, exhibition design strategies, educational programming, and public outreach initiatives concerning the exhibition of "difficult heritage" (MacDonald 2009) within a range of gallery spaces in Canada. This research considers: (1) in what capacity human rights abuses that have occurred in Canada are presently being defined and described in Canadian galleries and exhibition spaces; (2) the nature of collaborations and partnerships involved when designing exhibitions of this nature; and (3) the role of both material culture and survivor testimony in processes of creating human rights exhibitions. The results of this research provides valuable insights into the challenges faced and the strategies deployed by heritage professionals when working with difficult subject matter. As an ethnographic study into the process of exhibition design, this research also highlights how Canadian human rights narratives are produced through curatorial practice.