Martin Knelman sees a great deal of Frank Gehry’s own past, as well as Toronto’s cultural progression, in the AGO design. “Rather than showing off, it makes connections, weaving together threads of its own past, its roots in an eccentric neighbourhood, and the ambitions symbolized by its increasingly impressive art collection. Like Toronto itself, Gehry’s AGO refuses to call attention to itself. Rather it whispers and entices, draws you in, and reveals its secrets only to those willing to explore hidden pathways. It’s the perfect articulation for a city whose essence is not skyscrapers but almost invisible ravines that tourists often fail to notice.”