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Indian Theater and Contemporary Art at SITE Santa Fe

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The ambitious project paid off. Indian Theater: Native Performance, Art, and Self-Determination since 1969, on view at SITE Santa Fe and the IAIA Museum of Contemporary Native Arts through September 7, is a masterful mix of history, contemporary art, performance, and revealing installations that challenge what you know and think you know.

Filling the entire museum, the exhibition uses painting, sculptures, and performance sculptures to chronicle how radical performances by Native Americans shifted conversations, illuminated forgotten populations and treaties, asked difficult questions, and thoroughly influenced the trajectory of the contemporary Native American art movement.

2019 lightbox portrait Headdress – Jeneen by Dana Claxton (Lakota); the sitter bedecked in beads and embroidered gifts. Courtesy: the artist and Forge Project Collection.

Take a walk through the show (and a few performances) in our Flickr album.

In the entry, a provocative neon sign by Demian DinéYazhi (Diné) beckons, but visitors are immediately pulled into the large space surrounded by a graphic history of the historic Alcatraz occupation (1969-1971, one-of-a-kind mask wall pieces by Lloyd Kiva New (leader of brand-new The Institute of American Indian Arts 1967-1978), IAIA’s 1969 manifesto on Indian Theater, and a 1972 video of a NYC production by the Native American Theater Ensemble (running on an ancient Sony Trinitron). It’s all surrounded by a wall textile designed by Linda Lomahaftawa (Hopi/Choctaw) when she was an IAIA student in the Sixties.  A provocative sculpture by Gabrielle L’Hirondelle Hill (Métis) adds the contemporary drama.

Exhibition entry: 2021 mixed media Counterblaste by Gabrielle L’Hirondelle Hill (Métis); tobacco-stuffed pantyhose rabbit-human figure; surrounded by 1969 Alcatraz occuption documentation and paintings by Lloyd Kiva New. Courtesy: Center for Curatorial Studies, Bard College; IAIA Museum of Contemporary Native Art; Art Bridges.

This sets the stage for curator Candace Hopkins’ thesis – in the 1960s, Native American performance went hand-in-hand with greater activism, self-determination by tribes, and contemporary art in all its forms.  Listen to her explain:

Two performance spaces lie just beyond this gallery. First Nicholas Galanin’s gallery where his performance The White Carver happens weekly (surrounded by photos of previous performances since it was first staged in 2012). The White Carver tackles the subject of appropriation and Native cultural misunderstanding head on.

Behind the velvet rope: set for 2012-ongoing White Carver performance by Nicholas Galanin (Tlingit/Unangax) in which a Caucasian woodcarver replicates an object made by a Galinin – a commentary about appropriation and commercialization of Indigenous culture by non-Native communities. Courtesy: Gochman Family Collection.

Next, you enter a room hung with giant earring sculptures from Eric-Paul Riege (Diné), who activated them in a ritualistic performance at SITE in August. Riege’s installation allows everyone a simultaneous experience of the contemporary and cultural deep time.  Kite’s floor installation, right nearby, does this, too. (Check out our previous post about Kite’s innovative IAIA show here.)

Museum goers watch Eric-Paul Riege (Diné) interact with his mixed-fiber scultptures 2020-2022 jaatloh4Ye’iitsoh (“earrings for the big god”) (August 15, 2026); oversized jewelry suggesting knowledge by listening, harmony of natural fibers, and totems of memory. Courtesy: Forge Project Collection, traditional lands of the Moh-He-Con-Nuck; Art Bridges.

Two-dimensional art on display also evokes a mix of ancient and “now.” Action painting mixed with cultural symbols. Bugle beads or painted blankets echoing color-field painting.

2014 acrylic and graphite Crow Dance by Rick Bartow (Wiyot). Courtesy: Denver Art Museum.
2022 acrylic and glass bugle bead Wopila/Lineage II by Dyani White Hawk (Sicangu Lakota) – a reference to the long tradition of Lakota abstraction. Courtesy: Gochman Family Collection.

Mash-ups of pop culture, cartoony cheesecake, ancient craft, culture, and social commentary – all the work on display incorporate aspects of performance.

1990 sculpture War Dance Technology by performance artist James Luna (Payomkowicham, Ipai, and Mexican). Courtesy: Gochman Family Collection.
2014-2022 graphite and colored pencil drawing Killer Smile by Rachel Martin (Tlingit/Tsaagweidei, Killer Whale Clan of the Yellow Cedar House Eagle Moiety). Courtesy: the artist.

The back gallery takes us back into time to consider the irony of early ethnomusic recording in the Pacific Northwest during a period when potlatches were banned and ceremonies forbidden.  The exhibition has a beautiful installation of Native American LPs from the 1960s and 1970s beneath a stunning installation by Sonny Asu of copper recordings that cannot be played.

1960s-1970s LP recordings of Native American tribal songs by Indian Records; at rear, 2012 copper record installation “Ellipsis” by Sonny Asu (Ligwilda’xw Kwakwaka’wakw from the Wei Wai Kum Nation) – 138 records not intended for play. Courtesy: Forge Project Collection, traditional lands of the Moh-He-Con-Nuck.
1991 High Performance art magazine cover featuring James Luna during his AA Meeting/Art History performance.

In every room, videos display performances on stages (Jeffrey Gibson or Spiderwoman Theater) or in nature (asinnajaq (Inuk). One room is devoted to a set, props, and documentation of work by the influential performance artist James Luna, whose art did not shy away from the ever-present issue of alcoholism in Native communities.

The exhibition also includes an immersive, highly theatrical, multi-gallery installation by the New Red Order. Here’s the manifesto by NRO’s Adam and Zach Kahalil (Sault Tribe of Chippewa Indians) and Jackson Polys (Tlingit).

2023 performance documentation video of Don’t Make Me Over by Jeffrey Gibson (Mississippi Band of Choctaw and Cherokee) featuring performer Ariel Twist (Nehiyaw). Courtesy: the artist.

NRO uses satiric videos, props, murals, documents and timelines,  merchandise, and graffiti style to illuminate collisions of history, pop culture, and consciousness surrounding urban Native communities today – a totally head-spinning (and brain-spinning) experience.

Video of the 2020-ongoing Progenerator installation by the New Red Order, a mixed-media installation by artists Adam and Zach Kahalil (Sault Tribe of Chippewa Indians) and Jackson Polys (Tlingit) that probes societal stereotypes alongside non-Natives’ fascination with Native culture. Courtesy: the artists.

And thanks to the recreation by Erica Lord, SITE Santa Fe visitors were able to experience Artifact Revisited. Erica recreated an acclaimed 1987 performance by James Luna – a still Native body on display within a museum, encased in glass. In Erica’s recreation, her “cabinet” was surrounded by museum signage purporting to explain “Indians” and provide context for the “exhibit.” In the age of NAGPRA, the experience was unforgettable. Watch the performance heare, and listen to Erica explains how she came to perform this historic piece and how it felt.

For more background on the connections between Native American theater, politics, and art, here’s a link to the recently published book about this never-before-told story.

Watching Clay Artist Jody Folwell Break the Rules

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Contemporary ceramicist Jody Folwell (Santa Clara Pueblo) always knew she was going to make art that was a bit different, even as she was learning traditional Pueblo pottery making at the kitchen table from her her mom, celebrated artist Rose Naranjo. Satirical, sculptural, social-political, and avant-garde ceramic statements line the gallery from start to finish in O’Powa O’Meng: The Art and Legacy of Jody Folwell, a celebratory retrospective exhibition at the New Mexico Museum of Art through September 13, 2026.

The Santa Fe stop is the final on the exhibition’s journey across the United States, which started at the Fralin Museum of Art at the University of Virginia.

2018 Ancient pot by Jody Falwell (Santa Clara Pueblo), with painting inspired by Lascaux cave painting; rim evokes fire’s importance to humanity’s art making traditions. Courtesy: private collection.

Walk through the show to see our favorites in our Flickr album.

The exhibition does not unfold chronologically, even though it features some of Jody’s (and her family’s) most ground-breaking and controversial work. At one end is Half a Step, that she credits as one of her earliest nontraditional ceramic statements, featuring a lively bison thundering around the partially polished curved surface – a “half step” away from what was expected from Santa Clara pottery at the Santa Fe Indian Market in 1975. At the other end is her collaboration with the acclaimed sculptor Bob Hazous (Chiricahua Apache) that won Best in Show in 1984. Who had ever seen a green Pueblo pot with loaded commentary?

1975 Half a Step pot by Jody Falwell (Santa Clara Pueblo) – featuring sculpted animals and an unpolished band. Courtesy: Museum of Indian Arts and Culture.
Jody’s 1984 Hero Pot collaboration with Bob Hazous (Chiricahua Apache), awarded Best in Show at that year’s Santa Fe Indian Market for its unconventional color, shape, and subject. Courtesy: private collection.

Collaborations, social commentary, sculptural details, and different painting styles encourage gallery goers to move slowly, stop, look, and circumnavigate each work to let the beauty, humor, or story sink in. Jody’s recent multi-pot ceramic installation The Cycle of Pottery is Us causes viewers to stop, think, and reflect on not only the persistence of the traditional Tewa art form, but of the entire human cycle of birth and rebirth.

Detail of Jody’s 2024 The Cycle of Pottery is Us, a sequential reference to black-and-white Ancestral Pueblo ceramic traditions, the art form’s near-loss 50 years ago, and its resurgence. Courtesy: Tia Collection.

As cultural appropriation carries a loade charge in the art world, Jody’s feels that her fascination by sinuous designs of other cultures, the cheekiness of Pop culture, and admired styles of epochs in Western art history gives her license to honor them. She incorporates Plains Indian ledger book style, Maori iconography, comic books, and even the cave paintings of Lascaux.  A wide lens from her travel and studies delights visitors as she takes them on a world journey of history, art, and people.

2008 Northwest Coast Art 101 incised with a tribute to her love of fluidity of Pacific Coast design; at rear, 2006 Doh San Quah (I Stole It) painted in Plains Indian ledger style. Courtesy: private collections.

The feelilng behind the show chronicles how much the maternal ceramic making tradition means to her. 

2013 Star Wars pot by daughter Susan Folwell (Santa Clara Pueblo), with images of Hopi style and cosmologies. Courtesy: Fred Jones Jr. Museum of Art at University of Oklahoma, Norman.

The exhibition includes a large traditional bread making bowl by her mother as well as work by her daughters and grandchildren – accomplished artists in their own right.

Jody titled her show O’Powa O’Meng (“I came here, I got here, I’m still going”) to demonstrate her continued commitment both to innovation in her art form and to inspire the next generation of contemporary artists.

Several pieces involve a mix of tiles (some broken) and pots with incriptions or depictions woven across all of them, such as The Buffalo Hunt that she created for the Santa Fe installation and Buffalo Soldier, a meditation on Obama’s historic presidency and the enslaved workers who originally built the White House.

Hear more about pushing the boundaries from inside a Tewa home dedicated to art making from Jody and daughter Susan as they talk about exhibition’s final stop with curator Jill Ahlberg Yohe at Santa Fe’s New Mexico Museum of Art.

Makowa: Modern Skywatching with the Ancients

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Look up at the night sky and find patterns in the stars. You can do that, even though you’re standing inside the exhibition Makowa: The Worlds Above Us at Santa Fe’s Museum of Indian Arts and Culture through January 31, 2027. The wall-sized photo murals of day and night skies provide the backdrop to sculptures, pottery, and textiles with stylized images of stars, planets, the Sun, Moon, meteors, and changes of season.

Beautifully crafted objects and immersive photos provide contemplative spaces to consider the different types of skyward observations that Indigenous communities have made across millennia, and how stories and rituals convey this knowledge across generations.

Exhibition welcome: 2009 Evening Star ceramic sculpture by Kathleen Wall (Jemez Pueblo) – a Koshare holds stars important to celestial calendar.

Kathleen Wall’s charming Koshare holding up the Evening Star welcomes everyone to the journey. Take a look through our Flickr album to see some of our other favorites.

A mix of historic and contemporary art underscores the story behind star gazing. Tracking their slow movement across the night skies, sky watchers have long seen stars as important guides. The Ancients used petroglyph images as reminders of how to use ancestor stars for guidance – to tell time, mark seasons, and take journeys through vast desert landscapes.

Star patterns: 1930s tray woven by unknown Tohono O’ohdam artist.
2020 Star Child painting by George Toya (Jemez Pueblo), showing a star surrounded by ancestors in the night sky. Courtesy: private collection

Recent artworks suggest a range of the activity in the day and night sky. Phases of the Moon inform agricultural cycles. Planetary alignments, meteor showers, and also plane traffic are all part of night-sky viewing today. Rosemary Lonewolf’s tiny pot summarizes this dynamism nicely.

Distant worlds and a crowded sky: 1992 miniature Spaced Out jar by Rosemary Lonewolf (Santa Clara Pueblo).
2000-2001 sand painting by Joe Ben Jr. (Diné) linking phases of the Moon to planting cycles.

The curators show how traditional symbols of clouds, sky, and sky dynamics are learned, used, and adapted over the centuries by exhibiting modern woven regalia alongside ancestral Puebloan pots from Chacoan culture. It shows that abstract Indigenous symbols do not exist in a single place and time – they are used and reused.

Acknowledging the lively, changing sky: 1984 shirt with sky symbols woven by Evelyn Quintana (Okay Owingeh) with Ancestral Pueblo ceramics below.

The exhibition also takes a deep dive into how ancient architecture and landscapes across the Four Corners are used to mark cardinal directions, annual cycles, and astronomical phenomenon. Chaco’s magnificent kivas are featured in dramatic photo murals that show how a combination of architecture, horizon markers, and sunrise to mark the seasons.

Equinox and solstice: Duke Johnson’s 2022 photo of the Great Kiva Casa Rinconada at Chaco Canyon showing where the Sun rises against the landscape at key times of the year.

Aerial photographs show how buildings reflect astronomical alignments. Most visitors stand intrigued before an archaeoastronimical explanation of Chaco Canyon’s famous Sun Dagger, which transformed Fajada Butte into an observatory to mark the solstice and equinox.

Google Earth photos of Chaco Canyon National Historic Park. showing how structures are aligned to the cardinal directions – Pueblo Bonito and the Great Kiva at Casa Rinconada.
Visitor watches the Sun Dagger Explorer, a virtual experience of the archaeoastronomy site on Fajada Butte in Chaco Canyon. Courtesy: Advanced Computing Center for the Arts and Design at Ohio State University, The Solstice Project, and the New Mexico Museum of Natural History and Science.

Best of all, visitors themselves can explore the video interactive of another Chaco site – Rock of the Sun – to experience what it’s like to interact with petroglyphs, shadows, and the skies to mark time within the year. Nearby, there’s a copy of a petroglyph (carving into stone) that archeoastronomers suggest could depict an exploding star that was visible for 3 weeks in the year 1054.

Interactive video screen that provides visitors with a virtual experience of Rock of the Sun, an archaeoastronomy site in Chaco Canyon National Historic Park.

Other sections of the exhibition focus on the animals that serve as sky messengers – bats, eagles, and other birds – and rituals that honor the four cardinal directions.

One of the key themes here is to respect the elements – not try to control them – which is emphasized brilliantly in the final fitting tribute to these scientist farmers. Phenomenon such as rain, wind, clounds, and thunder seemed unpredictable to the Ancients, so ceremonies and dances were performed to convey desire for favorable elements. Beautifully woven cotton garments, paintings, and ritual headgear are rich in layered meanings – seasonal calendars, rain, and lightning.

Farmer scientists: 1920-1940 cotton shirt featuring zigzag lighting patterns by unknown Okay Owingeh artist.

It’s a reminder of the intergenerational wisdom used to coax agricultural bounty from the seemingly barren stark desert.

For deeper insights, the curators recommend a visit to the Star Stories website by WeRNative and the Native Skywatchers website.

1938 painting Mythical Corn Ceremony by Ignacio Mosquino (Waka Yeni Dewa) (Zia Pueblo).
2005-2009 Hopi tablita Butterfly Maiden by unknown Hopi artist.

Environmental Alerts by Native Artists

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Who better to ask us to pay attention to environmental impacts than people whose ancestors have been stewards of the land for millennia? Earth, air, fire, and water is the thematic structure for this beautiful, throught-provoking contemporary art show Essential Elements: Art, Environment, and Indigenous Futures, on view at Santa Fe’s Museum of Indian Arts and Culture through May 31, 2026.

The curators have selected 31 artists from 18 tribal communities across the United States to draw our attention to how tribal communities and the rest of us can listen to the Earth and imagine positive outcomes in the future.

The Earth on edge: 2020 fired clay Unstable World by Roxanne Swentzell (Santa Clara Pueblo). Courtesy: private collector.

Some jewelry, paintings, drawings, pots, and installations draw attention to traditional symbols of the Earth’s health (traditional symbols, wildlife living in a healthy environment), but many include pointed references to recent wildfires and other devastating alterations affecting tribal agriculture and people’s health.

2025 pen-and-ink drawing Biohazard Beauty II by Rowan Harrison (Diné/Isleta Pueblo). Courtesy: the artist.

Take a look at some of our favorite work in our Flickr album.

The Earth section begins with Roxanne Swentzell’s large ceramic sculpture Unstable World, which sets the tone for the rest of the show – Native art that calls attention to our current environmental balancing act. Nearby, several Diné artists ring the alarm bell about the insidious damage being done to Navajo Nation and nearby pueblos – and their own families – from the long legacy of open-pit uranium mining and contamination from nuclear testing.

Rowan Harrison’s intricate drawings are made to raise awarness of intergenerational health challenges and to honor and support to cancer victims. The curators have given lots of space to Diné artist Shayla Blatchford’s photo-interview Anti-Uranium Mapping Project, including a sobering map of the nearly 500 abandoned uranium mines scattered across her homeland. Biologist-artist-public health advocate Mallery Quetawki (Zuni Pueblo), creates abstracted works. Only when you get close do you see the shapes are radiation symbols of uranium contamination working its way into DNA strands.

2019 We Will Continue to Fight by biologist-artist Mallery Quetawki (Zuni Pueblo), raising awareness of how radiation contamination on native land damages people’s DNA. Courtesy: the artist, University of New Mexico Community Environmental Health Program

Beautiful, intricately woven baskets are displayed nearby. As you admire the creations of Jeremy Frey (Passamaquoddy), a 2025 recipient of the MacArthur Fellowship “genius” grant, it’s unsettling to learn that Jeremy and other Eastern art virtuosos are concerned that their baskets could be the last. Black ash and other natural materials are disappearing from their homelands at an alarming rate due to the triumph of invasive plant species.

Closeup of 2010 Lidded Basket with Porcupine Design by Jeremy Frey (Passamaquoddy) woven from black ash, sweetgrass, and porcupine quills; 2010 SWIA Market award winner. Courtesy: private collection.
2015 Ash Basket by Jeremy Frey (Passamaquoddy) woven from black ash, which is important to the tribe’s creation story, but highly endangered. Courtesy: private loan.

Other jewelry and ceramics artists incorporate images of animals, insects, and other indicators of what the world looks like when clean water and healthy air abound – dragonflies, tadpoles and frogs, and Avanyu, the all-important Puebloan water spirit. Multimedia artist Cannupa Hanska Luger is seen (via video) in a ritual performance “from the future” to ensure people’s continual gratitude for food, shelter, and tools.

Art featuring creatures of healthy air: 2001 Dragonfly Tall Lidded Jar by Autumn Borts (Santa Clara Pueblo), 2005 Dragonfly Bracelet by Ramon Dalangyawma (Hopi), and 2006 Dragonfly Vase by Dolly Naranjo Neikrug (Santa Clara Pueblo).
Keystone water species: 1958 ceramic Tadpole Figurines by Lucy Lewis (Acoma Pueblo); clay, crushed potshard temper, slip, and carbon paint.

Considering the string of recent devastating wildfires that have plagued New Mexico in recent years, the artwork in the exhibition representing the element of fire is truly resonant. Kevin Naranjo made a tiny ceramic jar into which he carved his recollection of the wildly destructive 2011 Las Conchas Fire. Michael Namingha’s spectacular digital image is not just a pretty view of the sky. It’s the image of a cloud that only appears above an extremely intense heat source – exactly what he photographed during the 2022 Hermit’s Peak Fire or that New Mexicans witnessed in the Trinity blast.

2024 silkscreen Disaster 2 by Michael Namingha (Tewa-Hopi) – a pyrocumulus cloud emerging from the Hermit’s Peak Fire, the largest wildfire in New Mexico’s history. Courtesy: the artist, Niman Fine Art.
2011 Las Conchas Fire by Kevin Naranjo (Santa Clara Pueblo) – a carved (sgraffito) ceramic depcting trees, land, and fire that burned 150,000 acres of Santa Clara’s land on the Pajarito Plateau, including ancestral sites; the Avanyu water spirit hovers above.

Overhead, as you enter or leave this thought-provoking experience, you see paper poppies – the first flowers that bloom after a fire.  Artist Leah Mata Fragua (Northern Chumash) is going a step further with her art after this exhibition ends. She’ll take her paper blossoms back home and burn them in a ritual that recycles her beautiful art back into the Earth.

2025 dyed handmade paper installation The Sun is on the Ground by Leah Mata Fragua (Northern Chumash), suggesting the wild poppies that bloom right after a wild fire. Installation intended to be recycled with fire at the exhibition’s conclusion. Courtesy: the artist

Where Bowie, Blahnik, and Blitz Kids Ruled 80s Culture

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You’ll have to go downstairs and get past the doorman to get into the club where art, design, trend, creative dress, techno-pop, synth, retro, and gender-bending fashions rule. The Design Museum in Kensington, London has created a time machine that takes visitors back to the edgy days of Covent Garden through the exhibition Blitz: the club that shaped the 80s, on view through March 29, 2026.

As soon as you enter the museum lobby, you can tell who’s there for the exhibition. Many are dressed for the occasion in bold designs, sparkly accessories, band T-shirts, and 80s hair accessories. Everyone’s having fun, going back to their youthful club days in London, remembering the “private party” at the Blitz wine bar every Tuesday night.

Exhibition entrance with photo of Steve Strange, who decided who got into the Blitz club.

See some of our favorite memorabilia and fashion in our Flickr album.

The exhibition recreates the convergence of everything cool in London culture circa 1979-1980. Visitors stand before posters, walls of photos, and fashion recollecting their own experiences at the Tuesday-night wine-bar “private party” where Steve Strange and DJ Rusty Eagan presided over bare-bones space that came alive with color, outrageous fashion, and ginormous personalities. Steve worked the door and (for a nano-second) Boy George ran the coat room. No one repeated outfits.

Photo wall of Blitz party goers 1979-1980 – (top) David Bowie and Toni Basil by Robert Rosen; double portrait by Robyn Beeche; (bottom) designer/club kid Stephen Linard by Robyn Beeche; Marilyn at Club for Heroes by Robert Rosen; and Stephen Linard by Ted Polhemus.

The journey opens with a look at the counter-culture that was percolating in Britain in the mid-1970s – the subversive punk scene, young people’s passion for European retro avant-garde cinema and art (thought to be more exciting that UK’s drab day-to-day), the magic of public persona reinvention (look no further than the music and image of the morphing Mr. Bowie), and and subversive, transmuting morals exemplified by drag and The Rocky Horror Picture Show.

Keeping track of a style and music influencer – late 1970s scrapbooks with pictures of David Bowie. Courtesy: Iain R. Webb.
Clubbing before Blitz: Nicola Tyson’s 1978 photos of “Bowie Night” hosted by DJ Rusty Egan and Steve Strange at Billy’s Club in Soho, London. Courtesy: Sadie Coles HQ, London.

DJ Rusty Egan began by hosting parties at other venues (“Bowie Night” and so forth) before asking the Blitz to agree to his recurring weekly event. Young art and fashion students of St. Martin’s and Central flocked to these party nights, turning themselves (and friends) into unique cultural creations. You were safe at the Blitz.

Student designer David Hola’s 1979 robe and dress; 1979 photo by Derek Ridgers of makeup artist Lesley Chilkes wearing it. Courtesy: Lesley Chilkes
1980 man’s hand-painted leather coat by Melissa Caplan for Pallium Products. Courtesy: the artist.

Fashion and innovation at the club were key, and after the Blitz club opened in 1979, it didn’t take long for the press to catch on.  Spandau Ballet did their first live performance at the Blitz, costumed by up-and-coming student designers. Manolo Blahnik and (future milliner to Dior and Diana) Stephen Jones were just part of the crowd, collaborating with designer friends, musicians, and make-up and hair artists to create look after look. They never imagined from those funky club days that their business would become the stuff of Met Galas, big-time runways, and museum archives.

Peter Ashworth’s 1980 photograph of Blitz style icon Kim Bowen wearing the Archbishop hat by Stephen Jones. Courtesy: Iain R. Webb.
Press about milliner Stephen Jones from a 1982 article in the Daily Express and 1983 story in Tatler. Courtesy: Stephen Jones; Central St. Martin’s Museum.

The exhibition shows off many of the designers who defined the ever-evolving look of (what the press called) “The New Romantics.”  Backless leather dresses by Fiona Dealey, retro zoot suits by Chris Sullivan, ecclesiastical-inspired unisex garb by Darla-Jane Gilroy, and socio-political tank-top commentary by Sue Clowes. After their graduation collections, many of them sold clothes at Camden Market or specialty boutiques near the club. Their careers were off and running.

Darla-Jane Gilroy’s 1980 fashion illustration for her final-year student collection.
1980 magazine story about the Blitz designers inspired by ecclesiastical garb.

Celebrity sightings were common at the club in those days. But just as many of the “Blitz Kids” promoted their own celebrity. Eventually Steve Strange was starring in music videos for his group Visage and Boy George was fronting Culture Club, all with revolutionary clothes, makeup, hats, and hair. With the advent of the wildly successful MTV, the whole thing went TV-viral.

Blitz Kids hit the charts – album and record-sleeve art for Spandau Ballet by Graham Smith and Culture Club.
1984 book by Wayne and Gerardine Winder and Christina Saunders, Boy George Fashion & Makeup Book. Courtesy: Michael Bean.

The central gallery of the exhibition is a physical recreation of the club with a period soundtrack. Although there aren’t any drinks being served, a virtual DJ Rusty Egan and virtual images of club goers thoroughly entertained museum visitors, all remembering those days when they were young and the the scene felt so alive. 

Video of the Blitz recreation inside the exhibit with virtual club-goers and museum visitors enjoying the scene at the bar.

Several visitors shepherded their now-adult kids through the exhibit, reliving those days and explaining how it felt to be witnessing pop-culture history-in-the making. You see walls of record albums from the era, a series of MTV video clips, and first editions of i-D magazine that quickly morphed from a punk-music publication to a chronicle of Blitz Kid fashion and street style.

Sue Cowles’ 1981 “Destruction of Purity” vest with images of warplanes, English roses, and St. George’s cross. Courtesy: Mikey Bean.
Graham Smith’s 1980 photo of BodyMap creators Stevie Stewart and David Holah with 1986 BodyMap tunic with print by Hilde Smith. Courtesy: University of Westminster Menswear Archive.

Watch this short video with curator Danielle Thom, Gary Kemp of Spandau Ballet, and Blitz creator Rusty Egan, who talk about the creative sparks that flew in a pre-Internet society.

Bravo to The Design Museum for making so many Londoners so happy, and to let everyone see, feel, and experience a time when transformation people and ideas seemed limitless and an army of misfit creatives changed pop-culture, design, and fashion for the better.

Welcome to the exhibition

Contemporary Pueblo Architecture Honors Ancient Beliefs

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Any visitor to Chaco Canyon National Historial Park (850-1250 CE) makes the journey to appreciate innovative masonry of the Great Houses, the precision of the ancient road system, and the astronomically aligned walls, windows, and kivas. But how do contemporary Pueblo architects incorporate these traditional beliefs in their 21st century projects?

A fascinating, in-depth exhibition, Restorying our Heartplaces: Contemporary Pueblo Architecture – on view at Albuquerque’s Indian Pueblo Cultural Center through December 7, 2025 – explores how modern Indigenous architects incorporate traditional world views into their work.

2023 photo Kivas at Pueblo Bonito,Chaco Canyon by curator Ted Jojola (Islela Pueblo) showing advanced masonry and architectural concepts.

For example, just look at the design of the National Museum of the American Indian’s Resource Center – an organic design, aligned to the four cardinal directions, with extensive use of cedar wood.

1999 plans for the National Museum of the American Indian Resource Center. Courtesy: Ted Jojola (Isleta Pueblo)
Views of the 1999 National Museum of the American Indian Cultural Resource Center in Suitland, Maryland. Courtesy: Lynn Paxson.

This exhibition coincides with the 50th anniversary of the 1975 Indian Self-Determination and Education Assistance Act – legislation that shifted Native American policy in the United States from assimilation to self-determination. Tribes were now able to initiate and run justice, government, health and education departments of their own – a change that triggered a construction boom for new schools and administrative buildings.

The show opens as an immersive experience in a large, circular gallery that introduces the core belief system and origin story of the Ancient Puebloans. Across a large screen in a vivid animation, the Pueblo people emerge into this world from a previous world. You watch them migrating outward in a spiral – symbols that are reflected across the art, murals, and photographs on the surrounding walls.

Mural by Dominic Aquero (Cochiti) with symbols of Pueblo creation; T-door represents the spiritual passage between two worlds (sky and Earth)

This experience sets the stage for the rest of the exhibition by showing how the stonework and beliefs reflected by the architecture of Ancient Puebloan centers points the way forward for Pueblo architects today.

2022 print by Gerald Dawavandewa (Hopi Cherokee) with T-shaped door for passage between worlds (sky and Earth]

The exhibition describes Ancient Puebloan architectural innovations – passive solar heating, precise window alignment, and masonry approaches. How did the Ancients achieve such precision in their dramatic Chaco and Mesa Verde buildings?

The curators present engineering and survey tools from archaeological excavations and modern survey backpacks side by side – plumb bobs, levels, and measuring devices.

Ancient stone and ceramic plumb bobs (from California and from Hewitt excavation at Rito de los Frijoles, Bandelier). Courtesy: Museum of Indian Arts & Culture/Lab of Anthropology.
Modern survey tools: level, tape measure, compass, brass plumb bob, wood, and string. Courtesy: curator Ted Jojola (Isleta Pueblo)

They also add comparisons of selenite used as window panels in Old Acoma’s Sky City (among the longest-inhabited communities in the US) and the contemporary architectural approach to windows in the recently built Acoma museum – a thoughtful reflection of the past

The exhibition directly addresses past HUD housing approaches on tribal lands – pushing suburban-style low-income housing, which moved families away from the traditional Pueblo plaza (the HeartPlace) and provided pitched-roof designs that blunted community cultural practices that utilized traditional Pueblo flat-roof construction.

The curators remind us of the continual upkeep required by adobe construction – a repeated communal task typically undertaken by a community’s women that happened on a regular, cyclical basis.  It’s also a reminder that Pueblo communities view buildings as living presences that evolve – not just concrete objects exist in a “finished” state.

Views of the 2000 campus for the Institute of American Indian Arts in Santa Fe. Courtesy: Paul Fragua (Jemez Pueblo)
Views of 2004 building designed by Janet Carpio (Laguna/Isleta Pueblos) for Pueblo of Isleta’s Headstart/Child Care Center.

Wall panels, blueprint books, and architectural models are used to demonstrate the contemporary innovations of Pueblo architects – the Resource Center of the National Museum of the American Indian (1999), the campus of the Institute of Amercian Indian Arts in Santa Fe (2000), and the Headstart Child Care Center for Isleta Pueblo (2004). Both incorporate design elements echoing the spiral migration path, alignment to the cardinal directions, and colors and elements of the Earth.

A huge multimedia interactive theater punctuates the walk-through – an immersive visit to Acoma’s new Cultural Center and Haa’ku Museum with tribal members and designers explaining the architectural details and how the buildings reflect the landscape and traditional belief systems.

Immersive interactive experience of Acoma’s new Cultural Center and Haa’ku Museum. Courtesy: Anna Seed Productions, Electric Playouse, and UNM ASPIRE.

The exhibition features the work of the Indiginous Design and Planning Institute (iD+Pi) at UNM and presents dramatic architectural models of the past, present, and future of the community of Nambe Pueblo.

Look through the exhibition in our Flickr album here – a future-forward look at the continuing progression of innovative architectural designs and the next generation of designers and architects respecting and integrating the Pueblo world view with buildings considered to be living, breathing HeartPlaces for the community. 

2023 photo by curatorTed Jojola (Islela Pueblo) North Window View from Desert View Watchtower, Grand Canyon showing the T-shaped doorway symbolizing passage between worlds

As the curators made clear in their opening-day remarks, a similarly extensive exhibition could explore architectural innovation and spiritualism across Navajo Nation. Let’s hope that happens!

Judith Lowry Retrospective and Her Great Basin Legacy

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She grew up on US military bases all over the world, and was thankful that her parents exposed her to the best museums, art, and culture in every country they resided. As an adult member of the Pit River Tribe, she moved back to her ancestors’ land in California and Nevada’s Great Basin, and began telling stories of her family’s history and modern Indigenous experience.

The Art of Judith Lowry showcases 40 years of this artist’s work in Reno, Nevada at the Nevada Museum of Art through November 16, 2025 – large-scale painting, triptychs, and installations.

Lowry’s 1997 Red Ribbons depicts herself as a light-skinned Native American teen equipped for battle. Courtesy: The Wheelwright Museum of the American Indian, Santa Fe.

The museum assembled Lowry’s most celebrated work from major collections across the United States, but is also using the occasion to celebrate Lowry’s own (and her husband’s) gift to the museum with a companion installation of The Lowrey and Croul Collection of Native American Art.

Take a look at some at our favorites from both shows in our Flickr album.

The entry of the exhibition shows how Lowry explores her complex family history at the turn of the last century in frontier ranch lands along the California-Nevada border – images of her biracial great-grandparents and a beautifully mystical depiction of her grandmother. Her regal portrait shows her ancestor’s face tatoos coupled with perfect Victorian dress and small references to the tragedies that befell her family – a symbolic approach Lowry adapted from her deep appreciation of Renaissance works by Bellini, da Vinci, and other masters.

Lowry’s 1997 The Good Marriage – her Native American great-grandmother and German-Irish great-grandfather at their Greenville, California ranch. Courtesy: private collection.
Lowry’s 1999/2012 Edna at Honey Lake depicts her biracial grandmother holding one of her many children who did not survive to adulthood.

A case in the center of the gallery presents Lowry’s paintings for her children’s book about her father and uncle’s Indian boarding-school experience, break out, and unauthorized journey back home.

She also presents family photos and representations of her own growing-up with rich stories and excerpts from her family photo albums. The experience of reading personal history, seeing her ancestors’ faces, and looking at the painted details on her epic canvases is a deep, warm experience that allows you to feel like you’re welcomed into Lowry’s complex and loving family.

Lowry’s 1995 triptych Family: Love’s Unbreakable Heaven showing the moment she understood her family’s unique biracial identity while living at an American military base in Germany. Courtesy: The Rockwell Museum, Corning, New York.

Many of the paintings are satiric takes on the pressures facing contemporary Native Americans navigating life in modern American society – startling theatrical juxtapositions in Indian casinos, retail emporiums, and Renaissance altarpieces.

Lowry’s 1996 Shopping – a sales associate shows the Virgin of Guadalupe’s cloak to a pre-Columbian mother and daughter who are shopping for prom. Courtesy: Peabody Essex Museum

Some of the most arresting works allow us to enter a spiritual realm – magical depictions of legends, stories, and lessons that she heard from her dad growing up.  Lowry’s large-scale, dramatic canvases are immersive – letting us enter the world of the girl-power Star Maidens, who who dance across the sky holding baskets of stars and tossing comets.

Lowry’s 2003 Northern Coast panel from the series Weh-Pom and the Star Sisters celebrating female autonomy and strength. Courtesy: National Museum of the American Indian, Smithsonian
Lowry’s 2003 Southern Coast panel from the story of the the Star Sisters holding their own in the sky and rejecting the advances of trickster Coyote Weh-Pom. Courtesy: National Museum of the American Indian, Smithsonian.

Or letting us enjoy the epic, triumphant forces of natural world that led to the environment Lowry now inhabits in the shadow of the Sierra Nevadas.

Lowry’s 2001 The Race for Fire showing animal spirits charging to retrieve fire from the mountains after a devastating flood. Courtesy: Maidu Museum and Historic Site, Roseville, California.

But at the end of her retrospective, Lowry presents the ultimate immersive experience – an imagined native Northern California roundhouse where visitors can enter, think, and see mystical images of Lowry’s inspiring female ancestors, tribal story-carriers, and cultural symbols.  Visitors enter quietly and linger respectfully, taking in all the details of the painted walls and dome.  See our short video to see Lowry’s comforting interior.

Lowry’s 2005/2025 mixed-media installation K’um de–go–i-dom (Home Place), an imagined Native California roundhouse covered in snow; built for quiet reflection. Courtesy: private collection

After immersion in this spiritual space, visitors enter a bright contemporary gallery displaying some of the 125 contemporary Indigenous works that Lowry and her husband Brad Croul donated to the Nevada Museum – honoring the accomplishments of the notable artists working in the region in the 1990s. The gallery is filled with art by famed Northern California indigenous artists (inspirations and friends like Harry Fonseca and Jean LeMarr. The gift significantly expands the museum’s indigenous contemporary collection.

It’s also a nice punctuation that the spectacular case of beaded glasswork by Lorena Gorbet also features a treasured piece of Judith’s family history – a beautiful grasshopper-stitch basket made by Judith’s great-aunt Annie Gorbet when she was only fourteen years old. 

1914 red maple and willow Grasshopper Stitch Basket by 14-year-old Annie Gorbet [Yamani Maidu (Mountain Maidu)] (Judith’s great aunt) and undated beaded glass water jug and bottles by Annie’s granddaughter, Lorena Gorbet
Car Crash Necklace by Brian Tripp (Karuk); created from auto reflector fragments, river rock, duct tape, fabric, and string.

Lowry’s work and generous collection provide a loving immersion into family, friends, and spiritual traditions of the Great Basin. It’s a rich tribute to a prolific contemporary artist – one who cares about her culture and committed to ensuring its legacy for her region.

MIAC Connects Diné Textiles to Land and Community

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Building on the groundwork laid in the artist-curated exhibition Grounded in Clay: The Spirit of Pueblo Pottery (opening in St. Louis on March 7), Santa Fe’s Museum of Indian Arts and Culture asked five Navajo textile artists, photographers, and scholars to delve into MIAC’s historic collections to tell the story of Diné weavng.

Horizons: Weaving Between the Lines with Diné Textiles, on view through February 2, 2025, presents historic and contemporary weavings alongside epic photographs of Navajo Nation landscapes to show the connections textile artist have to ancestors, their mentors, the community, the land, and their materials.

Historic Diné weaving with photomural by co-curator Rapheal Begay. Courtesy: the artist.

Appropriately, the story told by over 30 historic textiles is presented in MIAC’s Masterpieces gallery.

The entrance presents a dazzling display – a pictorial blanket woven in the 1890s set against a photomural of co-curator Rapheal Begay’s family sheep corral. It’s a visual testament to the importance of wool, life, and the 27,000 square miles of Navajo Nation. 

The blanket’s creator (unknown today) was an astute observer of the life on the land and translated it all into warp and weft – cow punchers, cattle, boots, birds, and new-fangled railroad cars, that only arrived in Navajo Country around the 1880s. Click here to see the detail.

1885 pictorial blanket created with Germantown wool yarn introduced in the Southwest by the railroads; photomural Navel (Hunter’s Point, AZ) by co-curator Rapheal Begay. Photo courtesy of artist.

Nothing was newer than the railroad, at the time this artist depicted it – a steam-fed invention from the East that would change western life forever, but that also brought a wide array of colorful yarn that could be mixed and matched with vegetal dyes to create new Native designs.

The intertwined history of Diné (“The People” in the Navajo language), textile art, and the land is told through quotes and recollections by the exhibition’s Native collaborators. While examining masterful geometric weaving techniques in 19th-century works, visitors are provided with an historic context – the types of art materials introduced to captives imprisoned at Bosque Redondo after the Long Walk, the images that could be interpreted as a longing for the homeland by the incarcerated, and coded spiritual affirmations.

1850-1860 hand-spun wool child’s (or saddle) blanket with Spider Woman crosses; created with natural cocineal, indigo, and chamisa dye
1880-1897 rug made with Germantown wool yarn, cotton string, and raveled yarn; materials used in weaving at Bosque Redondo era, post-Long Walk.

The participants in the exhibition make sure that viewers also experience how the landscape inspires the work of the past and contemporary Native textile artists. Diné fiber artist Tyrrell Tapaha includes her two-panel dress in which incorporates images of the Utah clouds and mountains that bring her spiritual peace. The masterful wall hanging by Lillie Joe uses the palette of the desert to create a mesmerizing geometric dazzler.

2020 two-panel dress by fiber artist Tyrrell Tapaha with images from Utah landscapes that inspired her; woven from churro, silk, mohair, and marino wool..
Close up of highly detailed 1980s Burntwater wall hanging by Lillie Joe, reflecting colors and patterns of the Navajo Nation landscape.

The curators feature both the photography of co-curator Rapheal Begay and Darby Raymond-Overstreet to allow gallery visitors to experience the awesome beauty of the homeland that inspires artists. Digital artist Raymond-Overstreet overlays geometric textile patterns across his luscious, beautiful landscapes.

2018 digital print Woven Landscape, Shiprock by Darby Raymond-Overstreet (Diné), overlaying digital landscapes with traditional weavings. Courtesy: the artist

Take a look at some of our favorite works in our Flickr album. And enjoy these historic and contemporary dazzlers.

Detail of 1895 wedge weave blanket made with commercial cotton string and Germantown wool – a dramatic 19th c. weaving innovation. Courtesy: International Museum of Folk Art.
2022 wedge weave by Kevin Aspaas; white and grey wool yarn with indigo dye. Courtesy: private collection.
Detail of dynamic Diné 1960 wool tapestry weave. Courtesy: International Museum of Folk Art

Pueblo Pots Speak in “Grounded in Clay”

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Contemporary artists say they can hear their ancestors speak across generations. All they have to do is hold their community’s ancient pots – living beings that connect them to the Earth and the people from the past who made them.

You can hear these modern and ancient voices and see ceramic masterworks in Grounded in Clay: The Spirit of Pueblo Pottery, an exhibition on view the The Museum of Fine Arts, Houston through January 12, 2025; continuing at the St. Louis Art Museum March 7 to September 14, 2025; and on display at the Pueblo Cultural Center in Albuquerque from March 2026 to February 2027.

In video at Museum of Indian Arts and Culture, Clarence Cruz (Okay Owingeh) reflects on a pots’s personal meaning

Clay is central to Pueblo culture, and this show is special, because it’s the first major exhibition of Pueblo pots curated entirely by the indigenous community – artists, leaders, teachers, and museum professionals.

1900 Tewa-Hopi Hno jar selected by Erin Monique Grant (Colorado River Indian Tribes); it reminded her of her Hopi family. Courtesy: Vilcek Collection.

For the 100th birthday of the Indian Arts Research Center at School for Advanced Research (SAR), the exhibition debuted in 2023 at Santa Fe’s Museum of Indian Arts and Culture, and then traveled to New York to open at the Metropolitan Museum of Art.

1907-1910 bowl by Nampeyo (Tewa/Hopi) selected by her great-great-grandson artist Dan Namingha. Courtesy: SAR

New York’s Vilcek Foundation co-sponsored the community-curation project, exhibition, and project website. The organizers consulted with sixty curators from 22 pueblo communities across the Southwest to select work from the IARC collection and write about the spirit of these works. Communications weren’t always easy, since Internet service (email) is still spotty on some tribal lands.  

But The Pueblo Collective’s inclusive approach to create the exhibition and catalog is now considered a template for major art institutions to work with tribal communities to convey their stories and culture to the public..

The IARC collection is legendary, spanning prehistoric to modern-day works. This video takes you inside IARC archive to meet a few of the Pueblo curators and the pots they selected:

Utilitarian vessels, ancient legacies, and intergenerational connections are themes explored in the 2023 installation at Santa Fe’s Museum of Indian Arts and Culture. The exhibition design artfully integrated the words and thoughts of the curators in, around, and above the spectacular selections. Take a look at some of our favorites in our Flickr album.

Two 19th-century Tesuque water jars: a jar chosen by artist Marita Hinds (Tesuque), who saw it on a 1980s class field trip; and one admired by potter Bernard Mora (Tesuque) for its personality and imperfections. Courtesy: SAR

In some cases, a curator chose an Ancestral Pueblo pot from the 1100s and reflected on how well it’s survived today. In other cases, a curator discovered their grandmother’s pot stored for decades within the IARC collection. What a joy to bring it out and let it breathe! Listen in….

This statement about Lonnie Vigil’s magnificent vessel by Nora Naranjo Morse says it all.  The MIAC gallery space recreated a Pueblo kitchen so we can experience the environment in which most Pueblo potters create their work.

1995 micaceous clay jar made by Lonnie Vigil (Nambe) selected by Nora Naranjo Morse (Santa Clara) because it glitters like stars. Courtesy: SAR
Santa Fe’s Museum of Indian Arts and Culture’s replica of Pueblo kitchen where most pottery is created

And here’s how the Met featured Lonnie’s show-stopping work – made on his kitchen table – prominently in the American Wing entrance!

Micaceous clay jar by Lonnie Vigil (Nambe) in the show’s entrance at the Met’s American Wing. Photo by Richard Lee; courtesy: The Metropolitan Museum

The project website presents the curators’ biographies, their selections, and stories. As of 2026, the pots have toured other institutions in the United States and have come home to New Mexico. See this beautiful exhibition at the Indian Pueblo Cultural Center in Albuquerque through February 21, 2027.

Listen to the Met’s 2023 panel with five curators behind this magnificent community-curated indigenous exhibition and find out why they believe understanding the vessels’ power is important:

Artists Call to Action for Central America

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In the early 1980s, socially minded artists living downtown in New York couldn’t handle the news coming out of Central America and did something about it. The United States government was intervening in the affairs of Nicaragua, El Salvador, and Guatemala, and everyone was worried that the situation was going to devolve into another Vietnam.

This is just one part of the story told by the dynamic, timely, informative exhibition, Art for the Future: Artists Call and Central American Solidarities, on view at the University of New Mexico Museum of Art in Albuquerque through December 3.

1981 pamphlet Mujer Revolución by Association of Nicaraguan Women. Private collection
1983 Print of Contra (after a drawing in Rock Comics, 1979) by Jerry Kearns, depicting communist fears stoked by the US government

In 1982, a group of New York artists collaborated with Latin American artists to create a show with contemporary art and cultural artifacts to draw attention to the escalating crises in Latin America. By 1984, organizers launched a national call to artists to raise money and awareness of what was happening.

Artists responded with performances, music concerts, films, poetry readings, and exhibition. In New York alone, over 1,100 artists participated in over 30 exhibitions.

Nationally, artists in 27 cities organized chapters and events and tried to build alliances in Latin America.

Videos, photographs, sculptures, paintings, and ephermera pulled from archives (like posters, buttons, mail art, and pamphlets) bring the story of artist-activists to life – their concerns about US government intervention, their efforts to organize artists across the United States, and their attempts to help artists living in oppressed Central American countries.

The Tufts University-organized show resurrects a largely forgotten story of artist activism, illuminates the tribulations of indigenous communities in Central America at the time, introduces us to contemporary works from artists inspired by their indigenous heritage, and gives us an idea of what’s happening in those countries now.

Two contributions to Solidarity Art by Mail project, a fast, cheap solution to boost Latin American and Caribbean participation in a 1984 New York exhibit at Judson Memorial Church. Private collection.

The three-floor show is packed with arresting images, works, and histories. The art work and documentation push and pull visitors between the international political crises of the 1980s and social-justice issues being addressed by artists today.

Take a look at the show on our Flickr site.

The installation features work by heavy hitters of the 1980s New York art scene – wall-size Vietnam-era work by Leon Golub, images documenting Ana Mendieta’s performance pieces, and Claes Oldenburg and Coosje van Bruggen’s sketches, maquettes, and exploding-banana image that branded the Artists Call Against US Intervention initiative.

The first-floor exhibition area includes Nancy Spero’s dramatic scroll-like drawing that calls attention to the oppression of Salvadorean women.

1984 Arts Magazine cover with Oldenburg’s image promoting Artists Call. Private collection

Downstairs, there’s another 1984 work that similarly unfurls the length of the gallery – an accordian-book project led by Sabra Moore that is a collaborative reconstruction of a rare 16th-century Mayan codex by 22 women. It’s the first time the codex has been displayed since 1984.

1984 “Reconstructed Codex,” a project organized by Sabra Moore with contributions from 22 diverse female Latin American and US artists. Courtesy: Barnard

The third floor packs a punch, installing revolutionary images and publications around the infamous (and censored) Hans Haacke piece that questions the aftermath of the 1983 US invasion of Grenada.  Across the room, visitors pour over Carlos Motta’s 2005 wall-sized chalkboard installation Brief History of US Interventions in Latin America since 1946. 

Although the 1980 artist-activists did not achieve all of their utopian goals, the contemporary selections show that social consciousness, pride in indigenous heritage, and artistic futures are still alive – including a beautiful feathered immigrant history dome by Batriz Cortez, stitched by a team of immigrant collaborators.

2021 sculpture 1984: Space-Time Capsule by Salvadorian artist Batriz Cortez and immigrant collaborators – a shelter for immigrant histories.

Learn more about how the curator Erina Duganne and her collaborator Abigail Satinsky created this remarkable show:

Art for the Future will be on display at Chicago’s DePaul Art Museum from March to August 2023.

Carlos Motta’s 2005 detailed chalkboard installation Brief History of US Interventions in Latin America since 1946. Courtesy: the artist