Nationally touring exhibition curated by artist Jeffrey Gibson and Jenelle Porter; includes work by Teresa Baker, Raven Chacon, Kimowan Metchewais, Caroline Monnet, George Morrison, Mary Sully, Jaune Quick-to-See Smith, and Kay WalkingStick, among others

(Boston, MA—MAY 2, 2025) This October, the Institute of Contemporary Art/Boston (ICA) opens An Indigenous Present, a thematic exhibition spanning 100 years of contemporary Indigenous art. The exhibition includes new commissions and significant works by 15 artists who use strategies of abstraction to represent personal and collective narratives, describe specific and imagined places, and build upon cultural and aesthetic traditions. Co-organized by artist Jeffrey Gibson and independent curator Jenelle Porter, the exhibition offers an expansive consideration of Indigenous art practices that highlights a continuum of elders and emerging makers, and premieres newly commissioned site-specific works by Raven Chacon, Caroline Monnet, and Anna Tsouhlarakis. An Indigenous Present emerges from Gibson and Porter’s 2023 landmark publication of the same name, which, through a collaborative process, brought together work by Native North American artists exploring diverse approaches to concept, form, and medium. Their engagement with artists during the making of the book inspired this exhibition—one that demonstrates the endless variability of abstraction and its capacity to hold multiple forms and histories. An Indigenous Present debuts at the ICA, where it will be on view from October 9, 2025, through March 8, 2026, before traveling to the Frist Art Museum in Nashville (June 26—September 27, 2026) and the Frye Art Museum in Seattle (November 7, 2026—February 14, 2027). 

“This exhibition is one take on the field of contemporary art and culture by Native and Indigenous makers. Some of these artists have been working for decades, and I follow in their path; others are at an earlier stage in their career, and I see new routes and possibilities in their respective practices. Together, they are amplifying the histories that have come before them and building a new context for present and future artists,” said Gibson.

​​Porter added: ​“Since curating Jeffrey’s first solo museum exhibition at the ICA in 2013, he and I have continued to think together about ways to enlarge art histories. This exhibition is a proposal, one that explores the ways that these artists challenge the often arbitrary, historical categorizations of art by Indigenous makers​.”​ 

The exhibition unfolds across 10 galleries, beginning with a focus on the work of George Morrison and Mary Sully, two important forebearers in the development of contemporary Indigenous art during the first half of the 20th century. Throughout the exhibition, works by emerging artists are positioned in dialogue with those by more established makers. Kay WalkingStick and Dakota Mace explore seriality and repetition in bodies of work realized in the 1970s and 2020s, respectively. WalkingStick’s Chief Joseph Series—dedicated to the heroic Niimíipuu / Nez Perce chief—presents a grid of 32 paintings that characterize the artist’s decades-long devotion to serial forms and storytelling. Mace’s So’ II (Stars II) is composed of 40 unique chemigram prints that draw on Diné (Navajo) design histories and heritage. In another artistic dialogue, George Morrison and Teresa Baker evoke the land and light of their own ancestral homelands through an interplay of color and form. Morrison, who trained alongside Abstract Expressionists painters in New York in the 1950s, is known for vibrant compositions, especially those inspired by the horizon near his Lake Superior, MN, home. Baker composes with yarn, paint, willow, and hide on irregularly cut artificial turf to create large-scale abstractions that convey her memories of place, such as the Northern Plains of her youth, as well as legacies of color field painting and collage.

At the ICA, An Indigenous Present includes two new commissions that expand the exhibition beyond the galleries. An immersive sound work by Raven Chacon will fill the ICA’s Founders Gallery overlooking Boston Harbor. Monnet’s site-specific installation for the museum’s Sandra and Gerald Fineberg Art Wall is composed of commercial building materials—such as Tyvek and roofing underlayment—that are sewn into a fractal-based composition inspired, in part, by Boston’s 600-year history of land reclamation and the ICA’s harbor location. The fractal patterns, or population “blooms,” derive from Anishinaabeg designs that, for the artist, symbolize interconnectedness, knowledge transmission, and kinship. Throughout the run of the exhibition, the ICA will host a series of performances of Raven Chacon’s scores and sound works, a film series curated by artist Sky Hopinka in the ICA’s Barbara Lee Family Foundation Theater, and a number of other public programs (dates and details to be announced). 

Artist List
Teresa Baker (Mandan/Hidatsa; born 1985 in Watford City, ND)
Raven Chacon (Diné; born 1977 in Fort Defiance, Navajo Nation)
Sky Hopinka (Ho-Chunk Nation; born 1984 in Bellingham, WA)
Sonya Kelliher-Combs (Iñupiaq/Athabascan; born 1969 in Bethel, AK)
Gabrielle L’Hirondelle Hill (Cree and Métis; born 1979 in Comox, British Columbia)
George Longfish (Seneca and Tuscarora; born 1942 in Ohsweken, Ontario)
Dakota Mace (Diné; born 1991 in Albuquerque, NM)
Kimowan Metchewais (Cree; born 1963 in Oxbow, Saskatchewan; died 2011, St. Paul, Alberta)
Caroline Monnet (Anishinaabe [Algonquin] and French; born 1985 in Ottawa, Ontario)
George Morrison (Ojibwe; born 1919 in Chippewa City, MN; died 2000, Red Rock, MN)
Audie Murray (Cree and Métis; born 1983 in Saskatoon, Saskatchewan)
Jaune Quick-to-See Smith (citizen of the Confederated Salish and Kootenai Nation; born 1940 in St. Ignatius Mission, Flathead Reservation, MT; died 2025, Corrales, NM)
Mary Sully (Susan Mabel Deloria) (Yankton Dakota; born 1896 in Standing Rock Reservation, ND; died 1963, Omaha, NE)
Anna Tsouhlarakis (Navajo/Creek/Greek; born 1977 in Lawrence, KS)
Kay WalkingStick (Cherokee and Anglo; born 1935 in Syracuse, NY)

Credits  
An Indigenous Present is organized by Jeffrey Gibson and Jenelle Porter, guest curators, with Erika Umali, Curator of Collections, and Max Gruber, Curatorial Assistant.  

This exhibition is supported in part by Peggy J. Koenig, Barbara H. Lloyd, and Kim Sinatra.  

With warmest thanks, we gratefully acknowledge the generosity of the ICA’s Avant Guardian Society in making this exhibition possible. 

About the ICA  
Since its founding in 1936, the ICA has shared the pleasures of reflection, inspiration, imagination, and provocation that contemporary art offers with its audiences. A museum at the intersection of contemporary art and civic life, the ICA has advanced a bold vision for amplifying the artist’s voice and expanding the museum’s role as educator, incubator, and convener. Its exhibitions, performances, and educational programs provide access to the breadth and diversity of contemporary art, artists, and the creative process, inviting audiences of all ages and backgrounds to participate in the excitement of new art and ideas. The ICA is located at 25 Harbor Shore Drive, Boston, MA, 02210. The Watershed is located at 256 Marginal Street, East Boston, MA 02128. For more information, call 617-478-3100 or visit our website at icaboston.org.  

Media Contact 
Theresa Romualdez, press@icaboston.org