Installation view of Indigenous Identities: Here, Now & Always at the Zimmerli Art Museum. Photo Credit: McKay Imaging Photography

Indigenous Identities at Zimmerli Art Museum honors Jaune Quick-to-See Smith’s lifelong dedication to Indigenous art, culture, and political resistance.

BY KAZEEM ADELEKE, ARTCENTRON

Before Jaune Quick-to-See Smith passed away on January 24, 2025; she had just finished curating Indigenous Identities: Here, Now & Always at the Zimmerli Art Museum at Rutgers University. The trailblazer in the contemporary Indigenous art world passed away just days before the opening of her latest curatorial project. But even in death, her contribution to bringing recognition to Indigenous artists and art lingers. This exhibition is a poignant final testament to Smith’s lifelong commitment to championing Native American art and artists. With her untimely passing, the exhibition has become even more significant, presenting a curated collection of 97 Indigenous artists from 74 nations.

Smith’s impact on the art world continues to resonate. As the first Native American artist to have a retrospective at the Whitney Museum of American Art, and the first to curate an exhibition at the National Gallery of Art, her contributions go beyond artistry. Her work embodies a relentless pursuit of cultural recognition and a nuanced understanding of Indigenous identity. Indigenous Identities offers a powerful survey of contemporary Indigenous art. It reflects both historical struggles and ongoing challenges.

The Powerful Message of Indigenous Identities

The title of Smith’s exhibition, Indigenous Identities: Here, Now & Always, captures a profound assertion of presence and continuity. The exhibition highlights three key aspects of Indigenous life. First, it explores the plurality of Indigenous identity. Second, it emphasizes the inherent connection to the land. Third, it showcases the resilience of Indigenous people in the face of centuries of erasure and colonization. These themes are examined through a diverse selection of works. The works emphasize the survival and thriving of Indigenous cultures, despite immense challenges like U.S. imperialism and colonialism.

In this exhibition, the artists do more than commemorate the past. There is an effort to chart a path forward for future generations. The artists explore a variety of media, including traditional painting, beadwork, modern photography, and installation art. Their exploration of these various media reflects their multifaceted identities and the ongoing struggle for recognition and respect. Each piece conveys a message that refuses to be silenced, declaring, “Here we are, and here we will be.”

An Exhibition of Multiplicity and Continuity

One of the most striking aspects of Indigenous Identities is its emphasis on multiplicity. The exhibition shows the diverse ways in which Indigenous identities are lived, expressed, and embodied across different nations and communities. Smith’s selection of 97 artists, working in various mediums, shows that Indigenous art is far from monolithic. Rather, it is dynamic and ever-evolving, continually reinventing itself in response to the shifting socio-political landscape.

Smith’s curatorial focus centers on the continuity of Indigenous presence. This focus makes the exhibition both a celebration of cultural resilience and a defiant statement. It challenges the erasure of Indigenous people from mainstream narratives. The exhibition is organized into four thematic sections: Political, Tribal, Social, and Land. These sections categorize the works into meaningful groups, guiding viewers through an understanding of Indigenous life. They help convey how politics, social life, cultural heritage, and the connection to land shape the contemporary Indigenous experience.

Political Identity: Struggles for Sovereignty and Survival

The Political section of the exhibition examines the ongoing struggles for Indigenous sovereignty and self-determination. Works such as Marie Watt’s Skywalker/Skyscraper (Twins) (2020) evoke powerful historical connections. For example, they reference the distribution of smallpox-infected blankets by colonizers, rekindling a traumatic past. The objective of spreading infectious diseases in Indigenous communities was to reduce the population of Native people and render them powerless and unable to fulfill their destiny. The consequences of the hegemonic relations were catastrophic, as many native people were infected and died. Expectedly,  the legacy of that trauma continues to have major impacts today. Despite a dark history, these works also celebrate the industriousness and resilience of Indigenous people, such as the Haudenosaunee ironworkers who helped build New York’s skyscrapers.

The perception of the American flag as a signifier of tyranny comes into focus in Demian DinéYazhi’s piece, my ancestors will not let me forget this (2020). Written on DinéYazhi’s flag in blue and red is “EVERY american flag is a WARNING SIGN.” With this work, the artist challenges American patriotism, asserting that the American flag is a reminder of colonial violence against Indigenous peoples. Like my ancestors will not let me forget this, works in this show respond directly to the historical injustices Indigenous communities have faced. They showcase the resilience of Indigenous peoples and their unwavering commitment to survival.

The Vision Behind Indigenous Identities

Tribal Identity: Celebrating Heritage and Community

In the Tribal section, the focus shifts toward the richness of Indigenous cultural traditions and the ongoing role of community in shaping identity. This section highlights the importance of tribal affiliation, language, and customs as vital elements of cultural continuity. Works like Philip Singer’s Pink Triangle (2019) combine Navajo weaving techniques with queer symbolism. Sarah Sense’s Dickens (2022) reinterprets colonial maps through Chitimacha and Choctaw basket weaving. Both underscore how heritage is preserved and transformed across generations.

These pieces offer a nuanced understanding of how Indigenous people honor and reinterpret their cultural legacies. Through intricate beadwork by Tony Abeyta and mastery of traditional textile arts, these works affirm the living, evolving nature of tribal identity. They ensure that cultural practices remain vibrant and relevant in the contemporary world.

Social Identity: Contemporary Indigenous Life in a Changing World

The Social section of the exhibition explores contemporary Indigenous life. It examines how Indigenous people navigate the intersections of community, pop culture, and higher education. Through works that reflect the socio-political realities of today, the exhibition challenges stereotypes. It also highlights the diversity of Indigenous experiences.

Artists like Edgar Heap of Birds use their work to address broader social concerns. They engage with issues of invisibility and misrepresentation. Their art reflects the resilience of Indigenous communities facing marginalization. It emphasizes the importance of representation and visibility in shaping contemporary social narratives.

Land Identity: The Inextricable Connection to Place

The final section of the exhibition, Land, emphasizes the vital role that land plays in the lives of Indigenous peoples. For Indigenous communities, land is more than just a physical space. It is a spiritual and cultural touchstone, intertwined with identity, history, and survival. This theme permeates the powerful works that speak to the loss of land and the destruction of ecosystems. It highlights the ongoing fight for environmental justice.

In Land, artists convey the deep connection between their people and their ancestral lands. They show how displacement and land theft have shaped Indigenous identities throughout history. The works in this section urge viewers to consider the broader ecological implications of colonialism. They ask them to reflect on how Indigenous people continue to fight for their land and resources.

Indigenous Identities: A Legacy of Resilience and Resistance

Jaune Quick-to- See Smith’s final curatorial project, Indigenous Identities: Here, Now & Always, is more than just an exhibition. It is a testament to the power and resilience of Indigenous artists and communities. The exhibition provides an unflinching look at the complexities of contemporary Indigenous life. At the same time, it celebrates the beauty, strength, and endurance of Indigenous cultures. Through her curatorial efforts, Smith has ensured that Indigenous art will continue to challenge, provoke, and inspire. This legacy will endure for generations to come.

This exhibition encapsulates her legacy as a trailblazer in the art world, both as an artist and curator. As the art world evolves, Smith’s commitment to amplifying Indigenous voices will remain. It will continue to be a guiding light for future curators, artists, and audiences alike.

Indigenous Identities: Here, Now & Always through December 21, 2025, at Zimmerli Art Museum at Rutgers University