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At Frieze New York, Kite presented a portion of the large-scale public artwork, Wíhaŋyablapi (of St. Louis) (2026), in process for the upcoming Counterpublic Triennial St. Louis. She tells Frieze magazine, “My practice focuses on engaging with people and their dreams for their communities, and then finding ways to make those dreams legible in artworks and sound. The walls will feature the design of Lakȟóta symbols rendered from dream discussions with St. Louis community members, and we’ll [be] travelling through the fair as a group of musicians to play these symbols as a graphic score.”

She shares, “The performances at Frieze will be an invitation to pull people’s ears towards what I think they should listen to, but I don’t expect an enraptured, silent audience. Improvisational music is a really small world, so I’ll be performing with the same people I have worked with over and over. Although we come from different backgrounds, we speak the same improvisational language.”

Image: Kite performing at Frieze New York.

@kitekitekitekitekite @counterpublic @friezeofficial

Lela Pierce performs A:gajë:gwah dësa’nigöëwë:nye:’ (i hope it will stir your mind) at the Walker Art Center with Rosy Simas Danse from May 13–16.

A:gajë:gwah dësa’nigöëwë:nye:’ (i hope it will stir your mind) is created by transdisciplinary and dance artist Rosy Simas (Seneca Nation of Indians, Heron clan). From Simas’ movement practice of deep listening to the earth, stars, ancestors, and each other comes a dynamic Native contemporary dance work that draws the audience into a space of relationality.

As a dancer, Pierce’s solo/lead performances include AACM@60, with Douglas Ewart & Inventions, Walker Art Center, Minneapolis, MN (2025); Virtual Altar, Minneapolis Institute of Art, MN (2021); and This is what’s allowed, Walker Art Center (2019). Pierce tours with Rosy Simas Danse (2016–present), and performs with Pramila Vasudevan of Aniccha Arts (2015–present). She danced extensively with Ananya Dance Theatre as a founding member (2004–2016).

Pierce’s solo exhibition 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 is open at Bockley Gallery through June 13.

RECENT PRESS | Dyani White Hawk's recent solo exhibition "Love Language" is reviewed in Artforum by Kathryn Savage (@kdsreads). The exhibition has traveled from the Walker Art Center, Minneapolis, MN, and is now on view at Remai Modern, Saskatoon, Canada through October 4, 2026.

Commenting on the impact of White Hawk's "Carry" series, and the effect of shoes designed by Jamie Okuma (Luiseño/Shoshone-Bannock/Wailaki/Okinawa), Savage writes: "both artists blur the boundary between craft and fine art, function and couture—while implicitly drawing attention to works by Native artists and women of color historically relegated to anthropological or folk-art spaces within museums."

Read the full article via link in bio.
–
"Dyani White Hawk: Love Language," October 18, 2025 – February 15, 2026, Galleries 1, 2, 3. Photo by Eric Mueller, courtesy Walker Art Center, Minneapolis.
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Installation view of "Whitney Biennial 2022: Quiet as It’s Kept" (Whitney Museum of American Art, New York, April 6-September 5, 2022). Dyani White Hawk, "Wopila | Lineage," 2022. Acrylic, glass bugle beads, and synthetic sinew on aluminum panel. Collection of the Whitney Museum of American Art and the National Gallery of Canada. Photograph by Ron Amstutz
–
"LISTEN," 2020-ongoing (still), Multi-channel video installation with directional sound
Collection 1, eight channel HD video installation (color, sound), continuous loop; artist’s statement
–
@dwhitehawk @kdsreads @artforum @bockleygallery @walkerartcenter @remaimodern #DyaniWhiteHawk #LoveLanguage #AlexanderGrayAssociates #SoloExhibition #LISTEN

RECENT PRESS | Dyani White Hawk's recent solo exhibition "Love Language" is reviewed in Artforum by Kathryn Savage (@kdsreads). The exhibition has traveled from the Walker Art Center, Minneapolis, MN, and is now on view at Remai Modern, Saskatoon, Canada through October 4, 2026.

Commenting on the impact of White Hawk's "Carry" series, and the effect of shoes designed by Jamie Okuma (Luiseño/Shoshone-Bannock/Wailaki/Okinawa), Savage writes: "both artists blur the boundary between craft and fine art, function and couture—while implicitly drawing attention to works by Native artists and women of color historically relegated to anthropological or folk-art spaces within museums."

Read the full article via link in bio.
–
"Dyani White Hawk: Love Language," October 18, 2025 – February 15, 2026, Galleries 1, 2, 3. Photo by Eric Mueller, courtesy Walker Art Center, Minneapolis.
–
Installation view of "Whitney Biennial 2022: Quiet as It’s Kept" (Whitney Museum of American Art, New York, April 6-September 5, 2022). Dyani White Hawk, "Wopila | Lineage," 2022. Acrylic, glass bugle beads, and synthetic sinew on aluminum panel. Collection of the Whitney Museum of American Art and the National Gallery of Canada. Photograph by Ron Amstutz
–
"LISTEN," 2020-ongoing (still), Multi-channel video installation with directional sound
Collection 1, eight channel HD video installation (color, sound), continuous loop; artist’s statement
–
@dwhitehawk @kdsreads @artforum @bockleygallery @walkerartcenter @remaimodern #DyaniWhiteHawk #LoveLanguage #AlexanderGrayAssociates #SoloExhibition #LISTEN

RECENT PRESS | Dyani White Hawk's recent solo exhibition "Love Language" is reviewed in Artforum by Kathryn Savage (@kdsreads). The exhibition has traveled from the Walker Art Center, Minneapolis, MN, and is now on view at Remai Modern, Saskatoon, Canada through October 4, 2026.

Commenting on the impact of White Hawk's "Carry" series, and the effect of shoes designed by Jamie Okuma (Luiseño/Shoshone-Bannock/Wailaki/Okinawa), Savage writes: "both artists blur the boundary between craft and fine art, function and couture—while implicitly drawing attention to works by Native artists and women of color historically relegated to anthropological or folk-art spaces within museums."

Read the full article via link in bio.
–
"Dyani White Hawk: Love Language," October 18, 2025 – February 15, 2026, Galleries 1, 2, 3. Photo by Eric Mueller, courtesy Walker Art Center, Minneapolis.
–
Installation view of "Whitney Biennial 2022: Quiet as It’s Kept" (Whitney Museum of American Art, New York, April 6-September 5, 2022). Dyani White Hawk, "Wopila | Lineage," 2022. Acrylic, glass bugle beads, and synthetic sinew on aluminum panel. Collection of the Whitney Museum of American Art and the National Gallery of Canada. Photograph by Ron Amstutz
–
"LISTEN," 2020-ongoing (still), Multi-channel video installation with directional sound
Collection 1, eight channel HD video installation (color, sound), continuous loop; artist’s statement
–
@dwhitehawk @kdsreads @artforum @bockleygallery @walkerartcenter @remaimodern #DyaniWhiteHawk #LoveLanguage #AlexanderGrayAssociates #SoloExhibition #LISTEN

RECENT PRESS | Dyani White Hawk's recent solo exhibition "Love Language" is reviewed in Artforum by Kathryn Savage (@kdsreads). The exhibition has traveled from the Walker Art Center, Minneapolis, MN, and is now on view at Remai Modern, Saskatoon, Canada through October 4, 2026.

Commenting on the impact of White Hawk's "Carry" series, and the effect of shoes designed by Jamie Okuma (Luiseño/Shoshone-Bannock/Wailaki/Okinawa), Savage writes: "both artists blur the boundary between craft and fine art, function and couture—while implicitly drawing attention to works by Native artists and women of color historically relegated to anthropological or folk-art spaces within museums."

Read the full article via link in bio.
–
"Dyani White Hawk: Love Language," October 18, 2025 – February 15, 2026, Galleries 1, 2, 3. Photo by Eric Mueller, courtesy Walker Art Center, Minneapolis.
–
Installation view of "Whitney Biennial 2022: Quiet as It’s Kept" (Whitney Museum of American Art, New York, April 6-September 5, 2022). Dyani White Hawk, "Wopila | Lineage," 2022. Acrylic, glass bugle beads, and synthetic sinew on aluminum panel. Collection of the Whitney Museum of American Art and the National Gallery of Canada. Photograph by Ron Amstutz
–
"LISTEN," 2020-ongoing (still), Multi-channel video installation with directional sound
Collection 1, eight channel HD video installation (color, sound), continuous loop; artist’s statement
–
@dwhitehawk @kdsreads @artforum @bockleygallery @walkerartcenter @remaimodern #DyaniWhiteHawk #LoveLanguage #AlexanderGrayAssociates #SoloExhibition #LISTEN

RECENT PRESS | Dyani White Hawk's recent solo exhibition "Love Language" is reviewed in Artforum by Kathryn Savage (@kdsreads). The exhibition has traveled from the Walker Art Center, Minneapolis, MN, and is now on view at Remai Modern, Saskatoon, Canada through October 4, 2026.

Commenting on the impact of White Hawk's "Carry" series, and the effect of shoes designed by Jamie Okuma (Luiseño/Shoshone-Bannock/Wailaki/Okinawa), Savage writes: "both artists blur the boundary between craft and fine art, function and couture—while implicitly drawing attention to works by Native artists and women of color historically relegated to anthropological or folk-art spaces within museums."

Read the full article via link in bio.
–
"Dyani White Hawk: Love Language," October 18, 2025 – February 15, 2026, Galleries 1, 2, 3. Photo by Eric Mueller, courtesy Walker Art Center, Minneapolis.
–
Installation view of "Whitney Biennial 2022: Quiet as It’s Kept" (Whitney Museum of American Art, New York, April 6-September 5, 2022). Dyani White Hawk, "Wopila | Lineage," 2022. Acrylic, glass bugle beads, and synthetic sinew on aluminum panel. Collection of the Whitney Museum of American Art and the National Gallery of Canada. Photograph by Ron Amstutz
–
"LISTEN," 2020-ongoing (still), Multi-channel video installation with directional sound
Collection 1, eight channel HD video installation (color, sound), continuous loop; artist’s statement
–
@dwhitehawk @kdsreads @artforum @bockleygallery @walkerartcenter @remaimodern #DyaniWhiteHawk #LoveLanguage #AlexanderGrayAssociates #SoloExhibition #LISTEN

RECENT PRESS | Dyani White Hawk's recent solo exhibition "Love Language" is reviewed in Artforum by Kathryn Savage (@kdsreads). The exhibition has traveled from the Walker Art Center, Minneapolis, MN, and is now on view at Remai Modern, Saskatoon, Canada through October 4, 2026.

Commenting on the impact of White Hawk's "Carry" series, and the effect of shoes designed by Jamie Okuma (Luiseño/Shoshone-Bannock/Wailaki/Okinawa), Savage writes: "both artists blur the boundary between craft and fine art, function and couture—while implicitly drawing attention to works by Native artists and women of color historically relegated to anthropological or folk-art spaces within museums."

Read the full article via link in bio.
–
"Dyani White Hawk: Love Language," October 18, 2025 – February 15, 2026, Galleries 1, 2, 3. Photo by Eric Mueller, courtesy Walker Art Center, Minneapolis.
–
Installation view of "Whitney Biennial 2022: Quiet as It’s Kept" (Whitney Museum of American Art, New York, April 6-September 5, 2022). Dyani White Hawk, "Wopila | Lineage," 2022. Acrylic, glass bugle beads, and synthetic sinew on aluminum panel. Collection of the Whitney Museum of American Art and the National Gallery of Canada. Photograph by Ron Amstutz
–
"LISTEN," 2020-ongoing (still), Multi-channel video installation with directional sound
Collection 1, eight channel HD video installation (color, sound), continuous loop; artist’s statement
–
@dwhitehawk @kdsreads @artforum @bockleygallery @walkerartcenter @remaimodern #DyaniWhiteHawk #LoveLanguage #AlexanderGrayAssociates #SoloExhibition #LISTEN

RECENT PRESS | Dyani White Hawk's recent solo exhibition "Love Language" is reviewed in Artforum by Kathryn Savage (@kdsreads). The exhibition has traveled from the Walker Art Center, Minneapolis, MN, and is now on view at Remai Modern, Saskatoon, Canada through October 4, 2026.

Commenting on the impact of White Hawk's "Carry" series, and the effect of shoes designed by Jamie Okuma (Luiseño/Shoshone-Bannock/Wailaki/Okinawa), Savage writes: "both artists blur the boundary between craft and fine art, function and couture—while implicitly drawing attention to works by Native artists and women of color historically relegated to anthropological or folk-art spaces within museums."

Read the full article via link in bio.
–
"Dyani White Hawk: Love Language," October 18, 2025 – February 15, 2026, Galleries 1, 2, 3. Photo by Eric Mueller, courtesy Walker Art Center, Minneapolis.
–
Installation view of "Whitney Biennial 2022: Quiet as It’s Kept" (Whitney Museum of American Art, New York, April 6-September 5, 2022). Dyani White Hawk, "Wopila | Lineage," 2022. Acrylic, glass bugle beads, and synthetic sinew on aluminum panel. Collection of the Whitney Museum of American Art and the National Gallery of Canada. Photograph by Ron Amstutz
–
"LISTEN," 2020-ongoing (still), Multi-channel video installation with directional sound
Collection 1, eight channel HD video installation (color, sound), continuous loop; artist’s statement
–
@dwhitehawk @kdsreads @artforum @bockleygallery @walkerartcenter @remaimodern #DyaniWhiteHawk #LoveLanguage #AlexanderGrayAssociates #SoloExhibition #LISTEN

RECENT PRESS | Dyani White Hawk's recent solo exhibition "Love Language" is reviewed in Artforum by Kathryn Savage (@kdsreads). The exhibition has traveled from the Walker Art Center, Minneapolis, MN, and is now on view at Remai Modern, Saskatoon, Canada through October 4, 2026.

Commenting on the impact of White Hawk's "Carry" series, and the effect of shoes designed by Jamie Okuma (Luiseño/Shoshone-Bannock/Wailaki/Okinawa), Savage writes: "both artists blur the boundary between craft and fine art, function and couture—while implicitly drawing attention to works by Native artists and women of color historically relegated to anthropological or folk-art spaces within museums."

Read the full article via link in bio.
–
"Dyani White Hawk: Love Language," October 18, 2025 – February 15, 2026, Galleries 1, 2, 3. Photo by Eric Mueller, courtesy Walker Art Center, Minneapolis.
–
Installation view of "Whitney Biennial 2022: Quiet as It’s Kept" (Whitney Museum of American Art, New York, April 6-September 5, 2022). Dyani White Hawk, "Wopila | Lineage," 2022. Acrylic, glass bugle beads, and synthetic sinew on aluminum panel. Collection of the Whitney Museum of American Art and the National Gallery of Canada. Photograph by Ron Amstutz
–
"LISTEN," 2020-ongoing (still), Multi-channel video installation with directional sound
Collection 1, eight channel HD video installation (color, sound), continuous loop; artist’s statement
–
@dwhitehawk @kdsreads @artforum @bockleygallery @walkerartcenter @remaimodern #DyaniWhiteHawk #LoveLanguage #AlexanderGrayAssociates #SoloExhibition #LISTEN

RECENT PRESS | Dyani White Hawk's recent solo exhibition "Love Language" is reviewed in Artforum by Kathryn Savage (@kdsreads). The exhibition has traveled from the Walker Art Center, Minneapolis, MN, and is now on view at Remai Modern, Saskatoon, Canada through October 4, 2026.

Commenting on the impact of White Hawk's "Carry" series, and the effect of shoes designed by Jamie Okuma (Luiseño/Shoshone-Bannock/Wailaki/Okinawa), Savage writes: "both artists blur the boundary between craft and fine art, function and couture—while implicitly drawing attention to works by Native artists and women of color historically relegated to anthropological or folk-art spaces within museums."

Read the full article via link in bio.
–
"Dyani White Hawk: Love Language," October 18, 2025 – February 15, 2026, Galleries 1, 2, 3. Photo by Eric Mueller, courtesy Walker Art Center, Minneapolis.
–
Installation view of "Whitney Biennial 2022: Quiet as It’s Kept" (Whitney Museum of American Art, New York, April 6-September 5, 2022). Dyani White Hawk, "Wopila | Lineage," 2022. Acrylic, glass bugle beads, and synthetic sinew on aluminum panel. Collection of the Whitney Museum of American Art and the National Gallery of Canada. Photograph by Ron Amstutz
–
"LISTEN," 2020-ongoing (still), Multi-channel video installation with directional sound
Collection 1, eight channel HD video installation (color, sound), continuous loop; artist’s statement
–
@dwhitehawk @kdsreads @artforum @bockleygallery @walkerartcenter @remaimodern #DyaniWhiteHawk #LoveLanguage #AlexanderGrayAssociates #SoloExhibition #LISTEN

Please join us for the opening reception of 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 by Lela Pierce on Tuesday, May 5, 6–7:30PM.

This solo exhibition continues Pierce’s decades-long practice attuning with and expanding her body’s ways of carrying memory and relating to time, place, and kin. With 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, Pierce honors depths of the Middle Passage and discomforts of ancestral estrangement through acts of grieving and conjuring. The exhibition’s duochromatic space comprises a multimedia wall installation, indigo panels, sculptures, and paintings on paper. Charged with and offering space for liberatory imagination, Pierce’s new body of work invokes the profound dimensionality of uncountable counting, virtues of sacred geometry, and choreographies of indeterminacy.

Images: Installation view, 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, 2026. Photo by Cameron Whittig.

@lela.pierce

Please join us for the opening reception of 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 by Lela Pierce on Tuesday, May 5, 6–7:30PM.

This solo exhibition continues Pierce’s decades-long practice attuning with and expanding her body’s ways of carrying memory and relating to time, place, and kin. With 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, Pierce honors depths of the Middle Passage and discomforts of ancestral estrangement through acts of grieving and conjuring. The exhibition’s duochromatic space comprises a multimedia wall installation, indigo panels, sculptures, and paintings on paper. Charged with and offering space for liberatory imagination, Pierce’s new body of work invokes the profound dimensionality of uncountable counting, virtues of sacred geometry, and choreographies of indeterminacy.

Images: Installation view, 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, 2026. Photo by Cameron Whittig.

@lela.pierce

Maggie Thompson’s soft sculpture Fuck This (2025) and Dyani White Hawk’s lithograph Trust and Loss (2013) are on view in the exhibition 𝘞𝘪𝘸𝘢𝘩𝘰𝘬𝘪𝘤𝘩𝘪𝘺𝘢𝘱𝘪: 𝘛𝘩𝘦𝘺 𝘗𝘳𝘰𝘮𝘪𝘴𝘦𝘥 𝘛𝘩𝘪𝘯𝘨𝘴 𝘵𝘰 𝘌𝘢𝘤𝘩 𝘖𝘵𝘩𝘦𝘳 at the Plains Art Museum in Fargo, North Dakota, through February 7, 2027.

𝘞𝘪𝘸𝘢𝘩𝘰𝘬𝘪𝘤𝘩𝘪𝘺𝘢𝘱𝘪: 𝘛𝘩𝘦𝘺 𝘗𝘳𝘰𝘮𝘪𝘴𝘦𝘥 𝘛𝘩𝘪𝘯𝘨𝘴 𝘵𝘰 𝘌𝘢𝘤𝘩 𝘖𝘵𝘩𝘦𝘳 considers treaties as living documents that continue to serve as legally binding agreements shaping the political relationship between Native Nations and the United States government. These agreements established land boundaries, resource rights, and reservations; they determine Tribal Nation citizenship and outline mutual obligations. The influence of treaties, and the policies surrounding them, has had a profound impact on traditional and contemporary Indigenous life, art, and ways of making and knowing. By pairing treaties with historical and contemporary images and art objects, this exhibition explores how treaties continue to impact Native people and reverberate through Native creativity and expression.

The exhibition is organized by the Plains Art Museum, Lakhota archeologist Tyrel Iron Eyes, and the Giiwedinong Treaty Rights & Culture Museum in collaboration with the National Museum of the American Indian and the Smithsonian Institution Traveling Exhibition Service.

Images: Maggie Thompson, Fuck This, 2025; Dyani White Hawk, Trust and Loss, 2013.

@plainsartmuseum @makwa_studio @dwhitehawk

Maggie Thompson’s soft sculpture Fuck This (2025) and Dyani White Hawk’s lithograph Trust and Loss (2013) are on view in the exhibition 𝘞𝘪𝘸𝘢𝘩𝘰𝘬𝘪𝘤𝘩𝘪𝘺𝘢𝘱𝘪: 𝘛𝘩𝘦𝘺 𝘗𝘳𝘰𝘮𝘪𝘴𝘦𝘥 𝘛𝘩𝘪𝘯𝘨𝘴 𝘵𝘰 𝘌𝘢𝘤𝘩 𝘖𝘵𝘩𝘦𝘳 at the Plains Art Museum in Fargo, North Dakota, through February 7, 2027.

𝘞𝘪𝘸𝘢𝘩𝘰𝘬𝘪𝘤𝘩𝘪𝘺𝘢𝘱𝘪: 𝘛𝘩𝘦𝘺 𝘗𝘳𝘰𝘮𝘪𝘴𝘦𝘥 𝘛𝘩𝘪𝘯𝘨𝘴 𝘵𝘰 𝘌𝘢𝘤𝘩 𝘖𝘵𝘩𝘦𝘳 considers treaties as living documents that continue to serve as legally binding agreements shaping the political relationship between Native Nations and the United States government. These agreements established land boundaries, resource rights, and reservations; they determine Tribal Nation citizenship and outline mutual obligations. The influence of treaties, and the policies surrounding them, has had a profound impact on traditional and contemporary Indigenous life, art, and ways of making and knowing. By pairing treaties with historical and contemporary images and art objects, this exhibition explores how treaties continue to impact Native people and reverberate through Native creativity and expression.

The exhibition is organized by the Plains Art Museum, Lakhota archeologist Tyrel Iron Eyes, and the Giiwedinong Treaty Rights & Culture Museum in collaboration with the National Museum of the American Indian and the Smithsonian Institution Traveling Exhibition Service.

Images: Maggie Thompson, Fuck This, 2025; Dyani White Hawk, Trust and Loss, 2013.

@plainsartmuseum @makwa_studio @dwhitehawk

Cara Romero’s photographs feature in the group exhibition 𝘚𝘰𝘷𝘦𝘳𝘦𝘪𝘨𝘯 𝘈𝘤𝘵𝘴 𝘐𝘐𝘐 at The James Gallery, CUNY, NYC. The exhibition is the latest iteration of curator Wanda Nanibush’s ongoing research into the relationship between performance, identity, and contemporary Indigenous art.

𝘚𝘰𝘷𝘦𝘳𝘦𝘪𝘨𝘯 𝘈𝘤𝘵𝘴 𝘐𝘐𝘐 explores the relationship between nineteenth century performing “Indians” and contemporary performance art. Indigenous artists have taken up this 19th century history to create self-representations in photography, performance, video and installation that challenge ideas of normative and status identity. The artists turn to a range of aesthetic strategies, including re-enactment, remixing, memorialization, mimicry, parody, masquerade, and portraiture, underscoring the interdisciplinary nature of Indigenous art.

Cara Romero is one of twelve exhibiting artists including Rebecca Belmore, Lori Blondeau, Demian DinéYahzi’, Martine Gutierrez, Robert Houle, James Luna, Alan Michelson, Kent Monkman, Shelley Niro, Jeff Thomas, and Hulleah Tsinhnahjinnie.

𝘚𝘰𝘷𝘦𝘳𝘦𝘪𝘨𝘯 𝘈𝘤𝘵𝘴 𝘐𝘐𝘐 is on view through July 17, 2026.

Image: Cara Romero, TV Indians, 2017.

@cararomerophotography @criticalnish @jamesgallerygc @thegraduatecenter @cunyedu

It’s the final day to experience Kite’s new commissions at 𝘌𝘵𝘦𝘳𝘯𝘢𝘭 [𝘒𝘢𝘭𝘱𝘢], the 4th Thailand Biennale, Phuket.

The sculpture Mázatke (Heavy Metal) invites viewers to notice their collaborations with nonhuman beings; how kinship offered by stones can extend to the minerals and metals within them, increasingly extracted to serve human desires. She asks, “What nonhuman beings are we listening to? From what ancestries?”

Mázatke (Heavy Metal), a humanmade conglomerate, considers the heaviness of objects—especially the historical connections and contingencies required to bring an artwork into being. Combining crystals, stones, glass, metal beads, and lustre dust, the meteor-like sculpture rests atop a mirrored pedestal, reflecting itself as it refracts light.

Images by Erin Robideaux Gleeson.

@kitekitekitekitekite @thailand_biennale

It’s the final day to experience Kite’s new commissions at 𝘌𝘵𝘦𝘳𝘯𝘢𝘭 [𝘒𝘢𝘭𝘱𝘢], the 4th Thailand Biennale, Phuket.

The sculpture Mázatke (Heavy Metal) invites viewers to notice their collaborations with nonhuman beings; how kinship offered by stones can extend to the minerals and metals within them, increasingly extracted to serve human desires. She asks, “What nonhuman beings are we listening to? From what ancestries?”

Mázatke (Heavy Metal), a humanmade conglomerate, considers the heaviness of objects—especially the historical connections and contingencies required to bring an artwork into being. Combining crystals, stones, glass, metal beads, and lustre dust, the meteor-like sculpture rests atop a mirrored pedestal, reflecting itself as it refracts light.

Images by Erin Robideaux Gleeson.

@kitekitekitekitekite @thailand_biennale

Bockley Gallery is pleased to open 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, a solo exhibition by Lela Pierce that continues her decades-long practice attuning with and expanding her body’s ways of carrying memory and relating to time, place, and kin.

With 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, Pierce honors depths of the Middle Passage and discomforts of ancestral estrangement through acts of grieving and conjuring. The exhibition’s duochromatic space comprises a multimedia wall installation, indigo panels, sculptures, and paintings on paper.

Charged with and offering space for liberatory imagination, Pierce’s new body of work invokes the profound dimensionality of uncountable counting, virtues of sacred geometry, and choreographies of indeterminacy.

Feel welcome to a reception with the artist on Tuesday, May 5, 6–7:30pm. 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 is on view through June 13.

Images: Installation views, 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, 2026 (1, 3); The Sweeper, 2026 (2); Drifting in the deep, 2026 (4); Detangled Traveler, 2026 (5); Untitled (blueblack series), 2024 (6); Time Travel Ocean, 2026 (7); Portal passage, 2026. Photos by Cameron Whittig.

@lela.pierce

Bockley Gallery is pleased to open 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, a solo exhibition by Lela Pierce that continues her decades-long practice attuning with and expanding her body’s ways of carrying memory and relating to time, place, and kin.

With 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, Pierce honors depths of the Middle Passage and discomforts of ancestral estrangement through acts of grieving and conjuring. The exhibition’s duochromatic space comprises a multimedia wall installation, indigo panels, sculptures, and paintings on paper.

Charged with and offering space for liberatory imagination, Pierce’s new body of work invokes the profound dimensionality of uncountable counting, virtues of sacred geometry, and choreographies of indeterminacy.

Feel welcome to a reception with the artist on Tuesday, May 5, 6–7:30pm. 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 is on view through June 13.

Images: Installation views, 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, 2026 (1, 3); The Sweeper, 2026 (2); Drifting in the deep, 2026 (4); Detangled Traveler, 2026 (5); Untitled (blueblack series), 2024 (6); Time Travel Ocean, 2026 (7); Portal passage, 2026. Photos by Cameron Whittig.

@lela.pierce

Bockley Gallery is pleased to open 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, a solo exhibition by Lela Pierce that continues her decades-long practice attuning with and expanding her body’s ways of carrying memory and relating to time, place, and kin.

With 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, Pierce honors depths of the Middle Passage and discomforts of ancestral estrangement through acts of grieving and conjuring. The exhibition’s duochromatic space comprises a multimedia wall installation, indigo panels, sculptures, and paintings on paper.

Charged with and offering space for liberatory imagination, Pierce’s new body of work invokes the profound dimensionality of uncountable counting, virtues of sacred geometry, and choreographies of indeterminacy.

Feel welcome to a reception with the artist on Tuesday, May 5, 6–7:30pm. 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 is on view through June 13.

Images: Installation views, 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, 2026 (1, 3); The Sweeper, 2026 (2); Drifting in the deep, 2026 (4); Detangled Traveler, 2026 (5); Untitled (blueblack series), 2024 (6); Time Travel Ocean, 2026 (7); Portal passage, 2026. Photos by Cameron Whittig.

@lela.pierce

Bockley Gallery is pleased to open 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, a solo exhibition by Lela Pierce that continues her decades-long practice attuning with and expanding her body’s ways of carrying memory and relating to time, place, and kin.

With 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, Pierce honors depths of the Middle Passage and discomforts of ancestral estrangement through acts of grieving and conjuring. The exhibition’s duochromatic space comprises a multimedia wall installation, indigo panels, sculptures, and paintings on paper.

Charged with and offering space for liberatory imagination, Pierce’s new body of work invokes the profound dimensionality of uncountable counting, virtues of sacred geometry, and choreographies of indeterminacy.

Feel welcome to a reception with the artist on Tuesday, May 5, 6–7:30pm. 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 is on view through June 13.

Images: Installation views, 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, 2026 (1, 3); The Sweeper, 2026 (2); Drifting in the deep, 2026 (4); Detangled Traveler, 2026 (5); Untitled (blueblack series), 2024 (6); Time Travel Ocean, 2026 (7); Portal passage, 2026. Photos by Cameron Whittig.

@lela.pierce

Bockley Gallery is pleased to open 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, a solo exhibition by Lela Pierce that continues her decades-long practice attuning with and expanding her body’s ways of carrying memory and relating to time, place, and kin.

With 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, Pierce honors depths of the Middle Passage and discomforts of ancestral estrangement through acts of grieving and conjuring. The exhibition’s duochromatic space comprises a multimedia wall installation, indigo panels, sculptures, and paintings on paper.

Charged with and offering space for liberatory imagination, Pierce’s new body of work invokes the profound dimensionality of uncountable counting, virtues of sacred geometry, and choreographies of indeterminacy.

Feel welcome to a reception with the artist on Tuesday, May 5, 6–7:30pm. 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 is on view through June 13.

Images: Installation views, 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, 2026 (1, 3); The Sweeper, 2026 (2); Drifting in the deep, 2026 (4); Detangled Traveler, 2026 (5); Untitled (blueblack series), 2024 (6); Time Travel Ocean, 2026 (7); Portal passage, 2026. Photos by Cameron Whittig.

@lela.pierce

Bockley Gallery is pleased to open 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, a solo exhibition by Lela Pierce that continues her decades-long practice attuning with and expanding her body’s ways of carrying memory and relating to time, place, and kin.

With 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, Pierce honors depths of the Middle Passage and discomforts of ancestral estrangement through acts of grieving and conjuring. The exhibition’s duochromatic space comprises a multimedia wall installation, indigo panels, sculptures, and paintings on paper.

Charged with and offering space for liberatory imagination, Pierce’s new body of work invokes the profound dimensionality of uncountable counting, virtues of sacred geometry, and choreographies of indeterminacy.

Feel welcome to a reception with the artist on Tuesday, May 5, 6–7:30pm. 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 is on view through June 13.

Images: Installation views, 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, 2026 (1, 3); The Sweeper, 2026 (2); Drifting in the deep, 2026 (4); Detangled Traveler, 2026 (5); Untitled (blueblack series), 2024 (6); Time Travel Ocean, 2026 (7); Portal passage, 2026. Photos by Cameron Whittig.

@lela.pierce

Bockley Gallery is pleased to open 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, a solo exhibition by Lela Pierce that continues her decades-long practice attuning with and expanding her body’s ways of carrying memory and relating to time, place, and kin.

With 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, Pierce honors depths of the Middle Passage and discomforts of ancestral estrangement through acts of grieving and conjuring. The exhibition’s duochromatic space comprises a multimedia wall installation, indigo panels, sculptures, and paintings on paper.

Charged with and offering space for liberatory imagination, Pierce’s new body of work invokes the profound dimensionality of uncountable counting, virtues of sacred geometry, and choreographies of indeterminacy.

Feel welcome to a reception with the artist on Tuesday, May 5, 6–7:30pm. 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 is on view through June 13.

Images: Installation views, 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, 2026 (1, 3); The Sweeper, 2026 (2); Drifting in the deep, 2026 (4); Detangled Traveler, 2026 (5); Untitled (blueblack series), 2024 (6); Time Travel Ocean, 2026 (7); Portal passage, 2026. Photos by Cameron Whittig.

@lela.pierce

Bockley Gallery is pleased to open 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, a solo exhibition by Lela Pierce that continues her decades-long practice attuning with and expanding her body’s ways of carrying memory and relating to time, place, and kin.

With 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, Pierce honors depths of the Middle Passage and discomforts of ancestral estrangement through acts of grieving and conjuring. The exhibition’s duochromatic space comprises a multimedia wall installation, indigo panels, sculptures, and paintings on paper.

Charged with and offering space for liberatory imagination, Pierce’s new body of work invokes the profound dimensionality of uncountable counting, virtues of sacred geometry, and choreographies of indeterminacy.

Feel welcome to a reception with the artist on Tuesday, May 5, 6–7:30pm. 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬 is on view through June 13.

Images: Installation views, 𝘣𝘭𝘶𝘦𝘣𝘭𝘢𝘤𝘬, 2026 (1, 3); The Sweeper, 2026 (2); Drifting in the deep, 2026 (4); Detangled Traveler, 2026 (5); Untitled (blueblack series), 2024 (6); Time Travel Ocean, 2026 (7); Portal passage, 2026. Photos by Cameron Whittig.

@lela.pierce

Conductor: Art Fair of the Global Majority is now open at Powerhouse Arts in Brooklyn. Please join us in booth D2 and Special Projects with works by Kite, Matthew Kirk, and Grace Rosario Perkins through Sunday, May 3.

@powerhouse_arts
@kitekitekitekitekite
@navajothunder
@gracerosarioo

📷 Mikhail Mishin

Conductor: Art Fair of the Global Majority is now open at Powerhouse Arts in Brooklyn. Please join us in booth D2 and Special Projects with works by Kite, Matthew Kirk, and Grace Rosario Perkins through Sunday, May 3.

@powerhouse_arts
@kitekitekitekitekite
@navajothunder
@gracerosarioo

📷 Mikhail Mishin

Conductor: Art Fair of the Global Majority is now open at Powerhouse Arts in Brooklyn. Please join us in booth D2 and Special Projects with works by Kite, Matthew Kirk, and Grace Rosario Perkins through Sunday, May 3.

@powerhouse_arts
@kitekitekitekitekite
@navajothunder
@gracerosarioo

📷 Mikhail Mishin

Conductor: Art Fair of the Global Majority is now open at Powerhouse Arts in Brooklyn. Please join us in booth D2 and Special Projects with works by Kite, Matthew Kirk, and Grace Rosario Perkins through Sunday, May 3.

@powerhouse_arts
@kitekitekitekitekite
@navajothunder
@gracerosarioo

📷 Mikhail Mishin

Conductor: Art Fair of the Global Majority is now open at Powerhouse Arts in Brooklyn. Please join us in booth D2 and Special Projects with works by Kite, Matthew Kirk, and Grace Rosario Perkins through Sunday, May 3.

@powerhouse_arts
@kitekitekitekitekite
@navajothunder
@gracerosarioo

📷 Mikhail Mishin

Conductor: Art Fair of the Global Majority is now open at Powerhouse Arts in Brooklyn. Please join us in booth D2 and Special Projects with works by Kite, Matthew Kirk, and Grace Rosario Perkins through Sunday, May 3.

@powerhouse_arts
@kitekitekitekitekite
@navajothunder
@gracerosarioo

📷 Mikhail Mishin

Eric-Paul Riege: ‘ojo|-|ólǫ́’ is on view at @HenryArtGallery, Seattle, WA — the artist’s largest solo exhibition to date.

Riege incorporates customary Diné practices into monumental soft sculptures and weavings that reference Diné mythology, settler trading posts inside and adjacent to the Navajo Nation, and ideas of ‘authenticity’ as a value marker of Indigenous art and craft.

On loan from Tia Collection is ‘let the Holy ppl watch over U and Me [2]’ (2018–19).

Inspired by beadwork made by weaving, it is the first work the Riege performed with: he rolled it up and carried it on his back, evoking the physical strain of working a loom — or of hauling lumber, sheep and other animals.

This summer, we’re thrilled to show another work by Riege in ‘Hold to This Earth: Works by Contemporary Indigenous North American Artists from Tia Collection’, opening 13 June at @YSPsculpture.

📆 Until 25 October

📸 Jueqian Fang

#TiaCollection #EricPaulRiege @EricPaulRiege @BockleyGallery

Eric-Paul Riege: ‘ojo|-|ólǫ́’ is on view at @HenryArtGallery, Seattle, WA — the artist’s largest solo exhibition to date.

Riege incorporates customary Diné practices into monumental soft sculptures and weavings that reference Diné mythology, settler trading posts inside and adjacent to the Navajo Nation, and ideas of ‘authenticity’ as a value marker of Indigenous art and craft.

On loan from Tia Collection is ‘let the Holy ppl watch over U and Me [2]’ (2018–19).

Inspired by beadwork made by weaving, it is the first work the Riege performed with: he rolled it up and carried it on his back, evoking the physical strain of working a loom — or of hauling lumber, sheep and other animals.

This summer, we’re thrilled to show another work by Riege in ‘Hold to This Earth: Works by Contemporary Indigenous North American Artists from Tia Collection’, opening 13 June at @YSPsculpture.

📆 Until 25 October

📸 Jueqian Fang

#TiaCollection #EricPaulRiege @EricPaulRiege @BockleyGallery

Bockley Gallery is pleased to participate in the inaugural edition of Conductor: Art Fair of the Global Majority, taking place April 30 - May 3 at Powerhouse Arts in Brooklyn.

As a Conductor Gallery Exhibitor, we bring together new and existing works by American artists Kite (Oglála Lakȟóta), Matthew Kirk (Navajo), and Grace Rosario Perkins (Diné/Akimel O’odham).

Kite’s wall works – Miínečagla (along the edges oŋ water) (2024) and Wihaŋblapi Mázačhaŋku (2024) – are exemplary of her practice coalescing and iterating human-nonhuman relations and technologies. Fragments from the artist’s dreams are embroidered with conductive thread and glass beads on deer hide using Lakota geometric semiotics. The designs also function as scores to be interpreted for sonic performance.

Matthew Kirk’s distinctive style of mark making is expressed in There is Something In The Light That Is Beautiful (2026), a rare pastel palette on a zig-zagged edged canvas, inferring a thunderbird. His sculpture Cross My Arms and Close My Eyes (2026), relays the playful and critical potency of his assemblage practice, using found materials collected along his daily routes.

Grace Rosario Perkins’ practice conjures the autobiographical, transmuting and layering materials that hold personal and collective stories. The large-scale painting Mom Jokes To Make Her Hair Curly Like A Sheep (2022) carries symbol-rich color and sacred iconography such as the spider’s web, as well as incorporating Indigenous plant medicine.

For Conductor’s Special Projects, we present Perkins’ first large-scale sculpture, When I See A Mountain I Want 2B A Stone, When I See Her Hand, I Want 2B A Bone (2025), recently debuted at the Whitney Museum of American Art. Grounded in collaboration and healing, the altar-like concrete column is embedded with remnants of addiction and stacked with medicinal plants collected by the artist and her friends and family on and near her tribal homelands.

#ConductorFair
@powerhouse_arts

Bockley Gallery is pleased to participate in the inaugural edition of Conductor: Art Fair of the Global Majority, taking place April 30 - May 3 at Powerhouse Arts in Brooklyn.

As a Conductor Gallery Exhibitor, we bring together new and existing works by American artists Kite (Oglála Lakȟóta), Matthew Kirk (Navajo), and Grace Rosario Perkins (Diné/Akimel O’odham).

Kite’s wall works – Miínečagla (along the edges oŋ water) (2024) and Wihaŋblapi Mázačhaŋku (2024) – are exemplary of her practice coalescing and iterating human-nonhuman relations and technologies. Fragments from the artist’s dreams are embroidered with conductive thread and glass beads on deer hide using Lakota geometric semiotics. The designs also function as scores to be interpreted for sonic performance.

Matthew Kirk’s distinctive style of mark making is expressed in There is Something In The Light That Is Beautiful (2026), a rare pastel palette on a zig-zagged edged canvas, inferring a thunderbird. His sculpture Cross My Arms and Close My Eyes (2026), relays the playful and critical potency of his assemblage practice, using found materials collected along his daily routes.

Grace Rosario Perkins’ practice conjures the autobiographical, transmuting and layering materials that hold personal and collective stories. The large-scale painting Mom Jokes To Make Her Hair Curly Like A Sheep (2022) carries symbol-rich color and sacred iconography such as the spider’s web, as well as incorporating Indigenous plant medicine.

For Conductor’s Special Projects, we present Perkins’ first large-scale sculpture, When I See A Mountain I Want 2B A Stone, When I See Her Hand, I Want 2B A Bone (2025), recently debuted at the Whitney Museum of American Art. Grounded in collaboration and healing, the altar-like concrete column is embedded with remnants of addiction and stacked with medicinal plants collected by the artist and her friends and family on and near her tribal homelands.

#ConductorFair
@powerhouse_arts

Bockley Gallery is pleased to participate in the inaugural edition of Conductor: Art Fair of the Global Majority, taking place April 30 - May 3 at Powerhouse Arts in Brooklyn.

As a Conductor Gallery Exhibitor, we bring together new and existing works by American artists Kite (Oglála Lakȟóta), Matthew Kirk (Navajo), and Grace Rosario Perkins (Diné/Akimel O’odham).

Kite’s wall works – Miínečagla (along the edges oŋ water) (2024) and Wihaŋblapi Mázačhaŋku (2024) – are exemplary of her practice coalescing and iterating human-nonhuman relations and technologies. Fragments from the artist’s dreams are embroidered with conductive thread and glass beads on deer hide using Lakota geometric semiotics. The designs also function as scores to be interpreted for sonic performance.

Matthew Kirk’s distinctive style of mark making is expressed in There is Something In The Light That Is Beautiful (2026), a rare pastel palette on a zig-zagged edged canvas, inferring a thunderbird. His sculpture Cross My Arms and Close My Eyes (2026), relays the playful and critical potency of his assemblage practice, using found materials collected along his daily routes.

Grace Rosario Perkins’ practice conjures the autobiographical, transmuting and layering materials that hold personal and collective stories. The large-scale painting Mom Jokes To Make Her Hair Curly Like A Sheep (2022) carries symbol-rich color and sacred iconography such as the spider’s web, as well as incorporating Indigenous plant medicine.

For Conductor’s Special Projects, we present Perkins’ first large-scale sculpture, When I See A Mountain I Want 2B A Stone, When I See Her Hand, I Want 2B A Bone (2025), recently debuted at the Whitney Museum of American Art. Grounded in collaboration and healing, the altar-like concrete column is embedded with remnants of addiction and stacked with medicinal plants collected by the artist and her friends and family on and near her tribal homelands.

#ConductorFair
@powerhouse_arts

Bockley Gallery is pleased to participate in the inaugural edition of Conductor: Art Fair of the Global Majority, taking place April 30 - May 3 at Powerhouse Arts in Brooklyn.

As a Conductor Gallery Exhibitor, we bring together new and existing works by American artists Kite (Oglála Lakȟóta), Matthew Kirk (Navajo), and Grace Rosario Perkins (Diné/Akimel O’odham).

Kite’s wall works – Miínečagla (along the edges oŋ water) (2024) and Wihaŋblapi Mázačhaŋku (2024) – are exemplary of her practice coalescing and iterating human-nonhuman relations and technologies. Fragments from the artist’s dreams are embroidered with conductive thread and glass beads on deer hide using Lakota geometric semiotics. The designs also function as scores to be interpreted for sonic performance.

Matthew Kirk’s distinctive style of mark making is expressed in There is Something In The Light That Is Beautiful (2026), a rare pastel palette on a zig-zagged edged canvas, inferring a thunderbird. His sculpture Cross My Arms and Close My Eyes (2026), relays the playful and critical potency of his assemblage practice, using found materials collected along his daily routes.

Grace Rosario Perkins’ practice conjures the autobiographical, transmuting and layering materials that hold personal and collective stories. The large-scale painting Mom Jokes To Make Her Hair Curly Like A Sheep (2022) carries symbol-rich color and sacred iconography such as the spider’s web, as well as incorporating Indigenous plant medicine.

For Conductor’s Special Projects, we present Perkins’ first large-scale sculpture, When I See A Mountain I Want 2B A Stone, When I See Her Hand, I Want 2B A Bone (2025), recently debuted at the Whitney Museum of American Art. Grounded in collaboration and healing, the altar-like concrete column is embedded with remnants of addiction and stacked with medicinal plants collected by the artist and her friends and family on and near her tribal homelands.

#ConductorFair
@powerhouse_arts

NOW OPEN | Dyani White Hawk’s solo exhibition "Love Language" at Remai Modern, Saskatoon, Canada, opens today, Saturday, April 25, 2026. The exhibition is on view through Sunday, October 4, 2026.

Following critical and public acclaim during its run at the Walker Art Center, Minneapolis, this major mid-career survey features nearly 100 works spanning the past 15 years of the artist’s wide-ranging practice.

Co-organized by Remai Modern and the Walker Art Center, the expansive exhibition includes paintings, sculptures, works on paper, video installations, and objects incorporating porcupine quillwork, lane stitch, and loomed beadwork, as well as several new large-scale sculptural works and mosaics debuting in this presentation. Together, the breadth of works highlights White Hawk’s ongoing commitment to formal and material experimentation.
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"Walk With Me," 2024, Acrylic and rhinestone chain on canvas, Collection of Gochman Family Collection. Photo: Rik Sferra
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@dwhitehawk @bockleygallery @remaimodern #DyaniWhiteHawk #RemaiModern #BockleyGallery #AlexanderGrayAssociates #LoveLanguage #NowOpen