For almost three decades, Alan Michelson has attended to place, histories, and futures, and the lived realities of Indigenous peoples in North America.

California Stars illuminates contributions to contemporary art that have been long ignored and excluded from the standard Euro-American canon.

Roberts centers the beauty and vulnerability of Black children, which is often seized from them at a young age via systemic violence in the United States.

Steven J. Yazzie and Patrick Dean Hubbell dismantle blatant distillations of Native visuality for profit that continue to commit and perpetrate harm against Indigenous artists and communities.

In both his approach to art making and in the subject matter he explores, Simmons foregrounds the unknown as an integral part of his process.

The 101st edition of the Native arts festival featured 800 artists and extensive programming.

Touch is at the core of Watt’s latest body of work, featuring hanging metal sculptures that echo the energy and spirit of a Native powwow. 

The city of Mesa canceled a series of shows of political street art just weeks after the museum refused to withdraw Fairey’s work depicting a police officer in riot gear.

Sculpting voluptuous figures with richly dynamic surfaces creates a shared humanity between Halfmoon, the artwork, and the viewer.

“In this long journey, it is step by step, hand over hand, something like climbing a rope,” she tells Hyperallergic in an interview. 

The artist-performer's career undulates, ever so gracefully, across multiple mediums and registers of generational pain, healing laughter, and Indigenous joy.

How is legacy defined, who defines it, whom does it serve?

The filmmaker and visual artist tells stories that speak directly to Native audiences while not over-explaining meaning for non-Native viewers.

The artist’s site-specific museum exhibition Three Parallels glows with choreographed colored light.

The artist wedges a sharp critique, and in many ways, erodes the foundations on which borders are built.

Merryn Omotayo Alaka and Sam Frésquez’s artistic collaborations center experiences of gender, queerness, and race.

The artist’s photographs shine a light on the unseen, resisting colonial categorization and institutional biases around art made by Native artists.

Diné fiber artist and sixth-generation weaver Tyrrell Tapaha expands lived experience and ideas about the future.

Canal Convergence, 10 years strong, brings large-scale interactive artworks to Scottsdale, Arizona’s waterfront.

While it is admirable that a group of artists has been able to be so monetarily successful, we have to ask: What is Meow Wolf doing for culture as a whole?

The artist shares why he would rather place his art outdoors than in an institution.

Despite curatorial missteps, 2018's SITE Santa Fe contributes to an ongoing and timely conversation in the Americas about identity, displacement, and colonialism.

Map(ing) is part art show, part residency: indigenous North American artists collaborate with Arizona State University graduate students to make prints

In North Dakota and beyond, Native American artists and their allies are creating work in support of the water protectors fighting the Dakota Access Pipeline.

The second edition of the SITElines biennial has a razor-sharp gracefulness that cuts with equal parts beauty and bitterness.

LOS ANGELES — If you visited LA this summer, it would have been hard for you to ignore the presence of Robert Mapplethorpe.

SANTA FE, NM — The worlds of fashion and fine art often collide, both in the museum and on the runway.

PHOENIX, Ariz. — Super Indian: Fritz Scholder, 1967–1980, currently on view at the Phoenix Art Museum, features over 40 oil paintings and prints by the Luiseño artist.

TUCSON, Ariz. — Underrepresentation of marginalized and minority communities in society is nothing new; neither is it in the art world.

ALBUQUERQUE, NM — Sound often accompanies visual experiences, such as music set to film, dance, and performance. Yet it is less frequent to have a visual depiction of our auditory experiences.

SCOTTSDALE, Ariz. — There are few artists who have been able to become a household name in the art world and still maintain a modesty to their person and in their work.

Liss LaFleur’s work is at once in your face and delicate, choosing a mode of seduction that utilizes pastiche to lure the viewer in with a hint of familiarity — then jolting them into a world that questions the status quo.

SANTA FE — An Evening Redness in the West explores the landscape of an apocalyptic world, investigating the doom of end times but also their promise of a new beginning.

SANTA FE, NM — Indian Market is a fixture of the Santa Fe community. Founded in 1922 by the Museum of New Mexico, the market brings over 150,000 people to Santa Fe each year to view the work of over 1,100 Native American and First Nations artists.

SCOTTSDALE, Ariz. — Comprised of Kade Twist, Raven Chacon, Cristóbal Martínez, and Nathan Young, the artist collective Postcommodity is an interdisciplinary group.

SCOTTSDALE, Ariz. — War and conflict have long had a role in the production of art.

LOS ANGELES — The term "craft," especially in the context of the art world, is tricky. Who decides what's art and what's craft, and is there a hierarchy between the two? Happily, an exhibition sometimes comes along to further blur the line, as is the case with Clare Graham & MorYork: The Answer is Yes at the Craft and Folk Art Museum.

SANTA FE — There are many facets to our identities and how we construct and define ourselves; one of the most integral is language.

LOS ANGELES — The retrospective: it's standard fare in the museum world, a survey of an artist's work over some stretch of her career. In Los Angeles, however, I'm not sure if there's such a thing as "standard fare."

SANTA FE — Unsettled Landscapes, the first installment of SITElines, SITE Santa Fe's reimagined model for how biennials are conceived, curated, and structured, is a conglomeration of art from the Americas.

LOS ANGELES — It's a rare opportunity to be present at the birth of an exhibition as well as the death of one. It affords the prospect of seeing how the same group of artworks can shift greatly in meaning, beauty, and cohesion based on the varying location and curation of an exhibition.

LOS ANGELES — In a city whose name is synonymous with the motion picture industry, it's common for the worlds of film and art to collide. It's less common, however, for them to collide in a way that's critical and not simply flirting with the idea of celebrity.

SANTA FE — At this point it's hard to keep track of which type of art event there are more of: art fairs or biennials. There are art fairs that look like biennials, biennials that look like art fairs, triennials, pop-ups, and everything in between. But the trope of the biennial has long been a fixture in the art world.

SANTA FE — This is a city best known for a gallery circuit saturated with Southwestern and traditional American Indian art; it may be less apparent that there is a dynamic contemporary art scene emerging in this bucolic desert town.

SAN FRANCISCO — I visited during a hell of a week for the City by the Bay. With temperatures soaring into the 90s, the sounds of fans, ice cream trucks, and San Franciscans complaining about the heat wave and lack of air-conditioning filled the air.

MENLO PARK, California — I'm going to be honest: I haven't been much of a fan of Pace Gallery in the past, or many of the blue-chip/dynastic galleries, for that matter; I find the programming too centered on celebrities in an attempt to garner press and sales.

Another day, another art fair. There has been, in recent years, a massive influx of art fairs, to point where it seems like every major city (and some boutique-y destination cities) has their own. Thus was born Silicon Valley Contemporary, which took place April 10–13 at the San Jose McEnry Convention Center in downtown San Jose.

DALLAS — It's rare that I walk into an art museum or gallery exhibition and am unequivocally blown away, but occasionally you can catch lightning in a bottle. That was the case with the Jim Hodges exhibition Give More Than You Take, currently on view at the Dallas Museum of Art (DMA).

FORT WORTH, Texas — It often seems like the world is made up of pairs: Christo and Jean Claude, Hall and Oates, peanut butter and jelly. Yet some things that seem like they'd fit well together have not cohabitated as one would assume. Take contemporary Mexican art and the state of Texas.

DALLAS — It was a normal day in downtown Dallas in June. The heat and humidity were bearing down on me with intense aggression, the traffic on Harry Hines Boulevard was jammed as usual, and glare beaming off of Museum Tower almost blinded me as I made my way to the arts district. Destination? The Nasher Sculpture Center, to see the installation by Berlin-based artist Katharina Grosse. WUNDERBLOCK, which opened June 1 and runs until September, features site-specific works by the artist that blur the lines between painting, sculpture, and installation.