Jeffrey Gibson's "An Indigenous Present" at ICA Boston challenges conventional notions of Native art beyond representationalism. The show, co-organized by Gibson and Jenelle Porter, features the work of 15 abstract Native artists, all from outside Massachusetts tribes. This absence is not coincidental, given the historical gap in Native representation in contemporary art institutions.
Gibson's curation untangles these artists from "fine art" rhetoric, bringing together diverse Native culture bearers who share space within Indigenous contexts but rarely unite in Western institutions. He juxtaposes Jamie Okuma's cradleboard with Philip J. Deloria's essay, Layli Long Soldier's poem next to Marie Watt's tin-jingle embellished blanket, peeling back Western superimpositions to reveal a natural cohesion that transcends page and gallery.
The exhibition translates this approach across nine rooms, showcasing the breadth of contemporary Native abstraction. Artists like Sonya Kelliher-Combs and Mary Sully use humor as a primary tool to challenge Western aesthetics and cultural norms. Gibson's approach is both eclectic and cohesive, creating a sense of disorientation that forces viewers to reevaluate their assumptions about Native art.
The show also tackles issues of land ownership and Indigenous demesne, with Caroline Monnet's "Man-made Land" (2025) commissioned for the exhibition. This installation depicts abstract botanical blooms rendered with thousands of oblong and stylized pieces of black, clear, and silver Tyvek, plastic, and foil, evoking flowers on the harbor's edge that perform land repair and establish Indigenous demesne.
Other artists, such as Kimowan Metchewais, explore themes of isolation and structural neglect in their work. Metchewais' "Chief's Blanket" (2002) fuses landscape photography with the iconic Navajo chief's blanket pattern, creating a dark yet resilient meditation on Indigenous history.
While some works succeed more than others in translating abstraction's power, the exhibition as a whole delivers a gift: disquietude for settlers, delight and laughter for Native attendees. Gibson and Porter enlist Indigenous principles—reciprocity and gift economies—and in return, viewers laugh, and settlers learn. "An Indigenous Present" is a must-see exhibition that challenges conventional notions of Native art and offers a powerful statement about the importance of inclusivity and representation.
Gibson's curation untangles these artists from "fine art" rhetoric, bringing together diverse Native culture bearers who share space within Indigenous contexts but rarely unite in Western institutions. He juxtaposes Jamie Okuma's cradleboard with Philip J. Deloria's essay, Layli Long Soldier's poem next to Marie Watt's tin-jingle embellished blanket, peeling back Western superimpositions to reveal a natural cohesion that transcends page and gallery.
The exhibition translates this approach across nine rooms, showcasing the breadth of contemporary Native abstraction. Artists like Sonya Kelliher-Combs and Mary Sully use humor as a primary tool to challenge Western aesthetics and cultural norms. Gibson's approach is both eclectic and cohesive, creating a sense of disorientation that forces viewers to reevaluate their assumptions about Native art.
The show also tackles issues of land ownership and Indigenous demesne, with Caroline Monnet's "Man-made Land" (2025) commissioned for the exhibition. This installation depicts abstract botanical blooms rendered with thousands of oblong and stylized pieces of black, clear, and silver Tyvek, plastic, and foil, evoking flowers on the harbor's edge that perform land repair and establish Indigenous demesne.
Other artists, such as Kimowan Metchewais, explore themes of isolation and structural neglect in their work. Metchewais' "Chief's Blanket" (2002) fuses landscape photography with the iconic Navajo chief's blanket pattern, creating a dark yet resilient meditation on Indigenous history.
While some works succeed more than others in translating abstraction's power, the exhibition as a whole delivers a gift: disquietude for settlers, delight and laughter for Native attendees. Gibson and Porter enlist Indigenous principles—reciprocity and gift economies—and in return, viewers laugh, and settlers learn. "An Indigenous Present" is a must-see exhibition that challenges conventional notions of Native art and offers a powerful statement about the importance of inclusivity and representation.
just saw the most mind-blowing art show at ICA Boston 
"An Indigenous Present" by Jeffrey Gibson... it's like, totally flipping our assumptions on its head 
all these Native artists, doing abstract work that's not about representationalism or trying to fit into white art spaces 
it's about Indigenous context and culture being the foundation from the start 
instead of, you know, trying to conform to what we think is "art" 
anyway, the show has this incredible cohesion and eclecticism at the same time... it's like a big ol' mess that somehow works 
also, I love how they're tackling issues of land ownership and Indigenous demesne in their work... it's like, totally necessary for us to see 
. I think it's awesome that Gibson and Porter are challenging Western aesthetics and cultural norms - we need more of that, especially in the art world. And can we talk about how dope it is to see Indigenous artists using humor as a tool to challenge those norms? 
It's not just about Native art being showcased, but also about representation and inclusivity. I'm so here for it! The fact that they're exploring issues like land ownership and Indigenous demesne in the exhibition is also super important. We need more conversations around these topics. Overall, this show sounds like a game-changer - can't wait to see it in person 
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The way Gibson curated the show was pure genius, bringing together these diverse artists who share a common context but rarely get to speak on Western stages 
I'm so stoked to see Jeffrey Gibson's "An Indigenous Present" hitting the scene at ICA Boston! It's like, finally, we're talking about Native art in a whole new way. I mean, we've been stuck in this representationalism rut for too long and it's time to shake things up. The fact that Gibson co-organized this show with Jenelle Porter is huge - they're bringing together these talented Native artists who don't always get the recognition they deserve.
But seriously, Gibson's curation is straight fire! Showing Native artists who don't conform to Western norms is like a breath of fresh air. And can we talk about the installations? Caroline Monnet's "Man-made Land" is giving me LIFE! The use of Tyvek and foil is everything. I love how it tackles land ownership and Indigenous demesne – it's so timely. And Kimowan Metchewais' "Chief's Blanket" is hauntingly beautiful. I'm not sure about some of the other works, but overall, this show is a must-see. 
. But overall, I guess "An Indigenous Present" is making an effort to bring attention to Native art and challenge Western norms 
. Caroline Monnet's "Man-made Land" is actually pretty cool 
, even if it feels a bit like a commentary on our times 
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. I mean, I love the idea of showing Native art outside of representationalism, but aren't we just perpetuating some kind of "exotic" narrative by celebrating abstract art that's only recently gained mainstream recognition? 
. And don't even get me started on the whole land ownership thing... it's like they're trying to paper over some deep issues rather than actually addressing them 
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. The way they're tackling land ownership and Indigenous demesne is super important too - it's like, we need more of this kind of nuanced thinking in our art scene 
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