What was it like to live through a pandemic? Here at the Museum of Quarantine on Quebec, we get a glimpse into that strange time. This unique outdoor gallery sprung up on a fence in the Hollywood Dell during the COVID-19 lockdowns. It’s a poignant snapshot of life during the pandemic, offering a window into a world grappling with isolation and uncertainty. The Museum of Quarantine on Quebec isn’t your typical museum. It began with artist Ann Morrow Johnson, who, feeling isolated, decided to transform the fence bordering her property into a community art project. She invited neighbors to contribute, and the result is a fascinating mix of art, crafts, and found objects. The Museum of Quarantine on Quebec became a canvas for shared experiences.
The museum’s exhibits are as diverse as the community itself. There’s a child’s birthday message on a Post-it note, captioned with the whimsical suggestion that its creator might be the “next generation’s Banksy.” There’s a pink felt square stitched onto a fabric head, labeled “Soap,” reflecting the sudden ubiquity of handwashing. And there’s a 1,000-piece puzzle, missing a few pieces, mounted on the wall. Its contributor, Bill Atchinson, noted that the missing pieces felt “particularly apropos.” The Museum of Quarantine on Quebec embraced imperfection. These seemingly random objects, documented on Instagram with Johnson’s witty captions, formed a collective narrative of a surreal moment.
The Museum of Quarantine on Quebec became a place for connection in a time of distance. One early contribution, a drawing of lemons with the words “Thought you could use a squeeze,” directed viewers to a nearby house where they could pick fresh lemons. This small gesture resonated deeply with Johnson, symbolizing the lost connections she craved. The museum also sparked a creative revival. Artist Megan Bourgeois, who had lost her artistic motivation, found inspiration in the project. She began contributing brightly colored, interwoven circles, using found materials. The Museum of Quarantine on Quebec gave her, and others, “a reason to create art again.” The project’s impact extended beyond the Hollywood Dell. Johnson’s godmother, Marley Lott, replicated the idea in Houston with a “Plague Tree,” adorned with teddy bears, Christmas balls, and other contributed items. Both the Museum of Quarantine on Quebec and the Plague Tree became testaments to the human need for connection and expression, especially during times of adversity. They reminded us that even in isolation, we are not alone.