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An acerbic, candid reckoning with Indigenous identity, visibility, and the messy realities of cultural change

In Indian Enough, curator and critic Paul Chaat Smith probes the paradox of contemporary Indigeneity: enormous, hard-won cultural visibility in museum exhibits, land acknowledgments, mascot removals, and more alongside persistent erasure in everyday life. Rejecting the easy comforts of identity politics (he was, he admits, a fan of the Land O’Lakes Butter Maiden), Smith brings “honest confusion” to his inquiry, using sharp wit and wry humor to confront the gap between symbolism and lived reality.

Both memoir and cultural critique, Indian Enough follows Smith from a suburban childhood in Washington, D.C., filled with Kurt Vonnegut and Vine Deloria Jr., through teenage years steeped in Native politics leading to a thrilling and eventually disillusioning stint with the American Indian Movement, to his pivotal role in creating the inaugural exhibitions at the National Museum of the American Indian. His insider account of NMAI exposes how well-meaning efforts to redress Native erasure can simply swap one set of stereotypes for another, and his candor shows how institutions and activists—himself included—all grapple with the tension between good intentions and political realities.

Irreverent and searching, Indian Enough tackles culture writ large—the rise of punk and the fall of AIM, pop culture as a battleground, Indigenous slaveowners and other histories we’d rather forget, MAGA Indians, and what it means to win when the ground keeps shifting. Together these essays reveal a truth that’s hard to reconcile in an era of “progress”: representation is everywhere, certainty is not.

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Explores how American Indian artists have responded to the pervasive misunderstanding of indigenous peoples as cultural minorities in the United States and Canada

Contemporary indigenous peoples in North America confront a unique predicament. While they are reclaiming their historic status as sovereign nations, mainstream popular culture continues to depict them as cultural minorities similar to other ethnic Americans. These depictions of indigenous peoples as “Native Americans” complete the broader narrative of America as a refuge to the world’s immigrants and a home to contemporary multicultural democracies, such as the United States and Canada. But they fundamentally misrepresent indigenous peoples, whose American history has been not of immigration but of colonization.

Monika Siebert’s Indians Playing Indian first identifies this phenomenon as multicultural misrecognition, explains its sources in North American colonial history and in the political mandates of multiculturalism, and describes its consequences for contemporary indigenous cultural production. It then explores the responses of indigenous artists who take advantage of the ongoing popular interest in Native American culture and art while offering narratives of the political histories of their nations in order to resist multicultural incorporation.

Each chapter of Indians Playing Indian showcases a different medium of contemporary indigenous art—museum exhibition, cinema, digital fine art, sculpture, multimedia installation, and literary fiction—and explores specific rhetorical strategies artists deploy to forestall multicultural misrecognition and recover political meanings of indigeneity. The sites and artists discussed include the National Museum of the American Indian in Washington, DC; filmmakers at Inuit Isuma Productions; digital artists/photographers Dugan Aguilar, Pamela Shields, and Hulleah Tsinhnahjinnie; sculptor Jimmie Durham; and novelist LeAnne Howe.

What happens when a Native or indigenous person turns a video camera on his or her own culture? Are the resulting images different from what a Westernized filmmaker would create, and, if so, in what ways? How does the use of a non-Native art-making medium, specifically video or film, affect the aesthetics of the Native culture?

These are some of the questions that underlie this rich study of Native American aesthetics, art, media, and identity. Steven Leuthold opens with a theoretically informed discussion of the core concepts of aesthetics and indigenous culture and then turns to detailed examination of the work of American Indian documentary filmmakers, including George Burdeau and Victor Masayesva, Jr. He shows how Native filmmaking incorporates traditional concepts such as the connection to place, to the sacred, and to the cycles of nature. While these concepts now find expression through Westernized media, they also maintain continuity with earlier aesthetic productions. In this way, Native filmmaking serves to create and preserve a sense of identity for indigenous people.

A critical survey of the values, challenges, implications, history, and future of conserving Indigenous collections globally.

Once the exclusive realm of non-Indigenous curators and conservators, the care of Indigenous works in museums is now largely carried out either in collaboration with or by community members—a significant change from the colonial origins of museum collections and conservation practice.

This volume brings together over 100 readings—by Indigenous and non-Indigenous authors from around the world—that trace the development of the conservation of Indigenous collections. The writers provide a wide range of expertise, from archaeology and ethnography to law, and include community leaders, anthropologists, and art historians, as well as conservators and curators.

The book begins with an examination of the changes in terminology that reflect trust and respect, Indigenous care practices that predate the emergence of museums, and the impact of policy and legislation on Indigenous art and artifacts. Other readings explore the challenges associated with managing large, complex collections and the changes that resulted from addressing them: the development of specialized technical approaches, the incorporation of intangible heritage in conservation agendas, and a broadening view of what conservation means and how to practice it. Indigenous Collections concludes by looking at new approaches to museums—managed by or jointly with the people most closely connected to the holdings—and to the future, through innovations in conservation education.

Reframing the study of Indigenous visual cultures, this volume explores how images and objects generate affect and relation in non-Western contexts, foregrounding alternative modes of material engagement and meaning-making.

While traditional approaches to Indigenous visual cultures have often centered on iconography and representation, this volume turns toward other ways that images and objects act in the world. Indigenous Visual Cultures in Latin America explores how material productions function not merely as signs that point elsewhere but as agents that help shape relationships, environments, and affective experience.

Spanning Mesoamerica, the Andes, and Amazonia from 1500 BCE to the present, the chapters examine how meaning may reside in materials themselves; how making is a form of exchange between maker and matter; and how visual forms participate in configuring relations among humans, ancestors, deities, and place. These works are not passive containers of meaning, but charged presences—generative forces within ongoing worlds. Attuned to Indigenous ways of knowing and being, the volume invites readers to think beyond the frame, beyond the image, and beyond representation itself.

Studies bronze icons of Hindu and Buddhist deities to better understand the flow of ideas across the sea routes of Maritime Asia in the first millennium.

While the great temples of Southeast Asia have inspired research in the past, the careful study of their smaller and more portable counterparts—bronze icons of Hindu and Buddhist deities—gives us a more dynamic understanding of the movement of beliefs and practices across Asia. These sacred images—found across Java, Sumatra, Kalimantan, and Sulawesi—rank alongside monumental temple complexes like Borobudur as among the most significant artistic and religious achievements of the region. Yet they have too often been treated as mere antiquities, prized for their beauty but stripped of their deeper historical meaning. 

Mechling recovers what these bronzes can actually tell us. By tracing their distribution patterns alongside their artistic style, iconography, fabrication techniques, and metal compositions, she reconstructs the shared cults, ritual practices, and technological relationships that linked communities across the western Indonesian archipelago and beyond from the sixth to the tenth century. The picture that emerges overturns a long-held scholarly paradigm—inherited from the colonial era—of passive Southeast Asian reception of Indian cultural influence. In its place, Indonesian Buddhist Bronzes in the Making of Maritime Asia reveals a world of multi-directional exchange among active, cosmopolitan participants whose networks of creativity and devotion shaped one of history's most dynamic cultural crossroads.

Studying films from around the world, including Latin America, Asia, Africa, the US, and Europe, Infected Empires presents a vision of a global zombie that points toward a posthuman and feminist future.

Given the current moment—polarized populations, increasing climate fears, and decline of supranational institutions in favor of a rising tide of nationalisms—it is easy to understand the proliferation of apocalyptic and dystopian elements in popular culture. Infected Empires examines one of the most popular figures in contemporary apocalyptic film: the zombie. This harbinger of apocalypse reveals bloody truths about the human condition, the wounds of history, and methods of contending with them.

Infected Empires considers parallels in the zombie genre to historical and current events on different political, theological and philosophical levels, and proposes that the zombie can be read as a figure of decolonization and an allegory of resistance to oppressive structures that racialize, marginalize, disable, and dispose of bodies.
 

In 1957, encouraged by Georgia O’Keeffe, artist Yayoi Kusama left Japan for New York City to become a star. By the time she returned to her home country in 1973, she had established herself as a leader of New York’s avant-garde movement, known for creating happenings and public orgies to protest the Vietnam War and for the polka dots that had become a trademark of her work. Her sculptures, videos, paintings, and installations are to this day included in major international exhibitions.

2026 PROSE Award for Art History And Criticism, Association of American Publishers

Illuminating the abstract art of the Inka, what it conveys about Inka values, and its relationship to those who view it.

Inka visual culture is unusual in its tendency toward abstraction. Public stonework, vessels used at state feasts, garments worn by the imperial elite—these objects announcing status and power are adorned with geometric designs that refuse figuration. After searching in vain for hidden referents, many scholars have largely given up the search for meaning.

Inside Abstraction develops a novel interpretation. Eminent art historian Carolyn Dean proposes that Inka geometries are neither ornamental nor coded depictions of other objects. Rather, Dean shows that in the Andean world, the designs were functionally self-aware, possessing perspectives of their own, quite literally looking back at and addressing viewers directly. Further, Dean contends that these agent-abstractions were teachers, conveying particular messages concerning social hierarchy: the relations among geometries and colors instructed viewers as to their own proper social relations. Inka designs thereby served imperial aims by wordlessly communicating the state’s values and demands for submission. Extensively illustrated and rigorously argued, Inside Abstraction is a dramatic step forward in our understanding of Inka art and political order.

An expansive and revelatory study of Robert Smithson’s life and the hidden influences on his iconic creations

This first biography of the major American artist Robert Smithson, famous as the creator of the Spiral Jetty, deepens understanding of his art by addressing the potent forces in his life that were shrouded by his success, including his suppressed early history as a painter; his affiliation with Christianity, astrology, and alchemy; and his sexual fluidity. Integrating extensive investigation and acuity, Suzaan Boettger uncovers Smithson’s story and, with it, symbolic meanings across the span of his painted and drawn images, sculptures, essays, and earthworks up to the Spiral Jetty and beyond, to the circumstances leading to what became his final work, Amarillo Ramp.

While Smithson is widely known for his monumental earthwork at the edge of the Great Salt Lake, Inside the Spiral delves into the arc of his artistic production, recognizing it as a response to his family’s history of loss, which prompted his birth and shaped his strange intelligence. Smithson configured his personal conflicts within painterly depictions of Christ’s passion, the rhetoric of science fiction, imagery from occult systems, and the impersonal posture of conceptual sculpture. Aiming to achieve renown, he veiled his personal passions and transmuted his professional persona, becoming an acclaimed innovator and fierce voice in the New York art scene.

Featuring copious illustrations never before published of early work that eluded Smithson’s destruction, as well as photographs of Smithson and his wife, the noted sculptor Nancy Holt, and recollections from nearly all those who knew him throughout his life, Inside the Spiral offers unprecedented insight into the hidden impulses of one of modern art’s most enigmatic figures. With great sensitivity to the experiences of loss and existential strife that defined his distinct artistic language, this biographical analysis provides an expanded view of Smithson’s iconic art pilgrimage site and the experiences and works that brought him to its peculiar blood red water.

Original and expert, Instrumental Lives brings a new understanding of how musical instruments interact with their environments and societies. Contributors: Supeena Insee Adler, Marie-Pierre Lissoir, Terauchi Naoko, Jennifer C. Post, Helen Rees, Xiao Mei, Tyler Yamin, and Bell Yung

Connecting interactive cinema to media ethics and global citizenship

 

Interactive Cinema explores various cinematic practices that work to transform what is often seen as a primarily receptive activity into a participatory, multimedia experience. Surveying a multitude of unorthodox approaches throughout the history of motion pictures, Marina Hassapopoulou offers insight into a range of largely ephemeral and site-specific projects that consciously assimilate viewers into their production.

Analyzing examples of early cinema, Hollywood B movies, museum and gallery installations, virtual-reality experiments, and experimental web-based works, Hassapopoulou travels across numerous platforms, highlighting a diverse array of strategies that attempt to unsettle the allegedly passive spectatorship of traditional cinema. Through an exploration of these radically inventive approaches to the medium, many of which emerged out of sociopolitical crises and periods of historical transition, she works to expand notions of interactivity by considering it in both technological and phenomenological terms. 

Deliberately revising and expanding Eurocentric scholarship to propose a much broader, transnational scope, the book emphasizes the ethical dimensions of interactive media and their links to larger considerations around community building, citizenship, and democracy. By combining cutting-edge theory with updated conventional film studies methodologies, Interactive Cinema presses at the conceptual limits of cinema and offers an essential road map to the rapidly evolving landscape of contemporary media.

Intersex Figures in Modern Japanese Literature and Art explores the history of intersex or futanari figures in modern Japanese literature and culture to examine the provocative discourses that defied a sexual regime as the modern nation-state of Japan advanced its national and imperial designs. As sexologists and medical practitioners continued reinforcing categories of “male” and “female,” “normal” and “pathological,” intersex literary figures garnered attention because the perceived subject was expected to be male or female—any variation was unintelligible. Many of the same century-old tropes and societal attitudes of needing to “cure” intersex persist. At the same time the 1991 novel Ringu by Suzuki Kōji testifies to a denial of futanari subjectivity, while the 1998 Japanese horror film (Ringu) and its 2002 American remake (The Ring) erase intersex all together.

Winston interrogates how the trope of the futanari is deployed for pragmatic or aesthetic purposes, thereby complicating the trajectory of the dominant sexological ideology of the time. Winston reads the figurative futanari in the works of Shimizu Shikin, Tanizaki Jun’ichirō, and Takabatake Kashō, and reveals how the artists’ different approaches to the futanari served their agendas and expressed views that challenged the dominant discourse on intersex.