Installation view of Indigenous Identities: Here, Now & Always at the Zimmerli Art Museum. Photo Credit: McKay Imaging Photography
BY CLARE GEMIMA September 29, 2025
Indigenous Identities: Here, Now & Always
Zimmerli Art Museum, Rutgers University
February 01- December 21, 2025
Assembling more than one hundred works by ninety-seven artists from over fifty tribal nations, Indigenous Identities: Here, Now & Always—on view at the Zimmerli Art Museum through December 21, 2025—stands as both a landmark survey of modern and contemporary Native American art and a resonant elegy for its curator. Conceived over three years by Jaune Quick-to-See Smith(Citizen of the Confederated Salish and Kootenai Nation), the exhibition is not only the most ambitious curatorial project of her six-decade career, it’s also one of the largest museum presentations of Native American art ever mounted in the United States. Smith’s untimely passing, just a week before the exhibition opening, recasts the group show with a poignant, profound gravity. What was envisioned as a sweeping celebration of survival now reads as her final act of advocacy, insisting that Native art is neither vanishing nor peripheral, but a vital force within the ongoing discourse of American art history.
Organized into four guiding themes—political, social, land, and tribal—the exhibition spans generations and mediums, from acrylic paintings like G. Peter Jemison’s (Seneca, Heron Clan) Red Power, made as early as 1973, to Joe Feddersen’s (Okanagan and Arrow Lakes), woven Sally bag titled Country Road, crafted as recently as 2024. Carried forward in its final stages with the assistance of Diné curator Raven Manygoats, and the support of her own son Neal Ambrose Smith, the scope of the exhibition ensures that Smith’s legacy as artist, activist, and cultural catalyst is strongly reflected not only in her own practice, but through the many voices…