250 Years, Indigenous Futures

Victoria Grace Canby 

(Diné, b. 1978, Albuquerque, New Mexico)

Marin-based artist Victoria Grace Canby’s new works on paper, created for the exhibition, depict the Three Sisters—corn, beans, and squash—as a living model of resilience, healing, and collective care that connects Indigenous Peoples throughout the Americas. “Through fostering our connection to these plants’ powers,” Canby notes, “we can overcome the impacts of colonization. These plants heal.”

Jordan Ann Craig

(Northern Cheyenne, b. 1992, San Jose, California)

Jordan Ann Craig's paintings draw from references ranging from Northern Cheyenne beadwork and quillwork to the postwar abstraction of Agnes Martin, which the artist translates into exacting, poetic fields of color and form. In works such as Miss Your Musk (2024), Craig foregrounds Indigenous abstraction as a living and evolving practice—capable of holding personal narrative, formal experimentation, and cultural continuity without being reduced to any single source or meaning.

Sky Hopinka

(Ho-Chunk Nation/Pechanga Band of Luiseño Indians; b. 1984, Ferndale, Washington)

Sky Hopinka's film Sunflower Siege Engine (2022) connects the Indians of All Tribes’ occupation of Alcatraz Island (1969–1971) with Illinois’ Cahokia Mounds, one of the largest pre-contact urban centers in North America. A related photograph depicts the Dickson Mounds Museum, once the site of a roadside attraction featuring Indigenous open graves. Together, the works consider NAGPRA, sovereignty, and the ways Indigenous histories and experiences intersect across time.

Brad Kahlhamer

(Native American; b. 1956, Tucson, Arizona)

Brad Kahlhamer's recent bedsheet paintings extend his long-standing interest in Plains ledger drawings and winter counts, as well as comics and other forms of mobile, image-based storytelling. Pima Air + Space (2025) unfolds as a dense, non-linear field of birds, horses, and masked figures. The exhibition also presents Kahlhamer’s Dreamcatcher series, silver constellations of woven wire and dance bells that transform a commercialized object into something closer to a portal, alive with sound and movement.

Terran Last Gun, Saakwaynaamah’kaa (Last Gun)

(Piikani/Blackfeet; b. 1989, Browning, Montana on the Blackfeet Reservation)

For Indigenous Futures, Terran Last Gun has created a suite of new ledger drawings inspired by the bold geometric designs of Blackfoot painted lodges, which the artist calls “visual masterpieces of the Great Plains.” Rendered on vintage trade ledgers and account books, the works extend the possibilities of Native American ledger art, bringing inherited forms and Indigenous abstraction into dialogue with the gridded pages of colonial records.

Jamie Okuma

(Luiseño, Shoshone-Bannock, Wailaki, and Okinawan; b. 1977, Glendale, California) 

In Of Love and Sacrifice: Motherhood (2026), Jamie Okuma uses single-stitch beadwork to transform a brain-tanned hide handbag into a dazzling portrayal of two figures from Luca Guadagnino's Suspiria (2018). Rendered with extraordinary precision in antique seed beads and surrounded by curved metal spikes, the figures bring bracing cinematic imagery into dialogue with Payómkawichum (Luiseño) beadwork techniques, evoking the selfless and steadfast power of maternal love.

Wendy Red Star

(Apsáalooke; b. 1981, Billings, Montana)

Wendy Red Star's works draw attention to the sights of Montana's Apsáalooke (Crow) reservation, where she finds signs of adaptation, resistance, and beauty. In The (HUD), Red Star stacks homes built through the U.S. Department of Housing and Urban Development into towers set against colorful satin backgrounds. Chiaxxúapilake (Fifty) (2025) turns to the ornately decorated parade cars of the annual Crow Fair, where automobiles join horses as ceremonial vehicles and expressions of Apsáalooke pageantry.

Keith Secola

(Northern Ute/Anishinaabe; b. 1988, Randlett, Utah on the Uintah and Ouray Reservation)

Keith Secola screen prints archival portraits of Native Americans onto vintage book covers, placing Indigenous presence in direct tension with exclusionary narratives of the nation’s past. In Macheavant (2019), an Indigenous woman appears across volumes from the 1967 series The American Heritage Book of the Presidents and Famous Americans, challenging the publication’s exclusion of Native contributions. Sourced from family albums and other archives, Secola’s subjects often look directly at the camera, their gaze resisting erasure.