The Haines Gallery presents ~250 Years, Indigenous Art Futures~ September 15-November 7,2026. Noted Native American Artist working in multiple disciplines combine traditional, and current imagery! imagery

Representing many tribal nation specific modalities, and identities are rendered in these works. Details below 

250 Years, Indigenous Futures September 15 – November 7, 2026 Opening Reception: Thursday, September 17, 2026 | 5:00 PM – 8:00 PM As the United States marks its 250th anniversary, Haines presents 250 Years, Indigenous Futures, a group exhibition centering the work of eight leading Native American artists: Victoria Grace Canby, Jordan Ann Craig, Sky Hopinka, Brad Kahlhamer, Terran Last Gun, Jamie Okuma, Wendy Red Star, and Keith Secola. Working across painting, drawing, sculpture, photography, and film, these artists engage contemporary culture, Nation-specific visual traditions, and personal histories in distinct and expansive ways.  Looking beyond commemoration, 250 Years, Indigenous Futures recognizes 1776 as only one moment within much longer histories of Indigenous presence, adaptation, and sovereignty. Creating space for artists to define their own terms of engagement, the exhibition aims to bring forward concerns central to their practices. The works on view draw inspiration from a vivid range of sources: boldly painted Piikani lodges; the precise geometry of Northern Cheyenne beadwork; the Indians of All Tribes’ occupation of Alcatraz; cars adorned with blankets and regalia for the annual Crow Fair; blood-soaked horror films; and archival photographs whose subjects meet the visitor’s gaze.  Explore the Exhibition Victoria Grace Canby, We Grow Our Own Medicine - Interdimensional and Intertribal Healing - Plant Studies: Three Sisters - Squash, 2026   Jordan Ann Craig, Miss Your Musk, 2024   Victoria Grace Canby's (Diné, b. 1978) new works on paper depict the Three Sisters—corn, beans, and squash—as a living model of resilience, healing, and collective care that connects Indigenous Peoples throughout the Americas. Jordan Ann Craig's (Northern Cheyenne, b. 1992) painting Miss Your Musk evokes associations ranging from Northern Cheyenne beadwork and quillwork to the postwar abstraction of Agnes Martin, foregrounding Indigenous abstraction as a living, evolving practice. Sky Hopinka, Death is an obstacle and I've exhausted a place called home, 2022   Brad Kahlhamer, Pima Air + Space, 2025     A film and related photograph by Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians, b. 1984) connects distinct Indigenous sites and histories, including the Indians of All Tribes' occupation of Alcatraz Island (1969–1971), and the Cahokia and Dickson Mounds, both in present-day Illinois. Brad Kahlhamer's (Native American ancestry, b. 1956 ) recent "dream sheet" painting Pima Air + Space explores what he refers to as the “third place”—a meeting point of two opposing personal histories—through a highly personal visual iconography. Terran Last Gun, Continuum And Survival, 2026   Jamie Okuma, Of Love And Sacrifice: Motherhood, 2026   New ledger drawings by Terran Last Gun (Piikani/Blackfeet, b. 1989) feature bold geometric designs inspired by Piikani painted lodges on vintage ledger paper, bringing ancestral forms, colonial records, and Indigenous abstraction into charged relation. Jamie Okuma's (Luiseño, Shoshone-Bannock, Wailaki, and Okinawan, b. 1977) signature single-stitch beadwork transforms a spiked, deerskin handbag into a dazzling portrayal of figures from Luca Guadagnino's 2018 horror film Suspiria. Wendy Red Star, The (HUD) 3, 2026   Keith Secola, Macheavant, 2019   Works from Wendy Red Star's (Apsáalooke, b. 1981) The (HUD) series collage the colorful facades of houses built through the U.S. Department of Housing and Urban Development on Montana’s Apsáalooke (Crow) reservation, revealinging signs of domestic beauty that exceed the mandates of bureaucracy. Keith Secola (Northern Ute/Anishinaabe, b. 1988) screen prints archival portraits of Native Americans onto the covers of vintage books, placing Indigenous presence in direct tension with exclusionary narratives of America’s past.  Request Preview Sales Inquiries: alexandra@hainesgallery.com Images credits: 1) Victoria Grace Canby, We Grow Our Own Medicine - Interdimensional and Intertribal Healing - Plant Studies: Three Sisters - Squash, 2026. Courtesy of the artist. Photo: Shaun Roberts; 2) Jordan Ann Craig, Miss Your Musk, 2024. Courtesy of the artist and Hales Gallery, London and New York. © Jordan Ann Craig. Photo: JSP Art Photography; 3) Sky Hopinka, Death is an obstacle and I've exhausted a place called home, 2022. Courtesy of the artist and Broadway Gallery, New York; 4) Brad Kahlhamer, Pima Air + Space, 2025. Courtesy of the artist. Photo: Shaun Roberts; 5) Terran Last Gun, Continuum And Survival, 2026. Courtesy of the artist; 6) Jamie Okuma, Of Love and Motherhood: Sacrifice, 2026. Courtesy of the artist. Photo: Shaun Roberts; 7) Wendy Red Star, The (HUD) 3, 2026. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson; 8) Keith Secola, Macheavant, 2019. Courtesy of the artist. Photo: Shaun Roberts

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The Hines Gallery offers limited edition prints of David Maisel's work. See below details

 

Limited Edition Prints by David Maisel David Maisel The Lake Project 15, 2002 Archival Pigment Print, 2026 Image: 22 x 22 inches / Sheet: 24 x 24 inches Edition of 5 + 1 AP $3,000 INQUIRE Haines is pleased to present three new limited edition prints by David Maisel, offered in support of his new book, View from the Precipice: Survey of Works 1983–2026. Drawn from his acclaimed series The Lake Project (2001-02, 2015), Desolation Desert (2018), and Spiraling (2024-26), each print is priced at $3,000 and accompanied by a signed copy of the book. All proceeds from these sale will directly support the publication, forthcoming from Radius Books. David Maisel Desolation Desert, Tailings Pond 1, Minera Centinela Copper Mine, Antofagasta Region, Atacama Desert, Chile, 2018 Archival Pigment Print, 2026 Image: 22 x 22 inches / Sheet: 24 x 24 inches Edition of 5 + 1 AP $3,000 INQUIRE For over thirty years, Maisel has photographed the complex relationships between natural systems and human intervention. The Lake Project examines the surreal landscape of Owens Lake, a once 200 square-mile lake in California that has been depleted since 1926 from the diversion of water to Los Angeles. Desolation Desert focuses on the massive copper and lithium mining operations in the vast territory of Chile’s Atacama Desert. The artist’s latest series, Spiraling, offers an aerial perspective on the Great Salt Lake region, where the lake’s size has diminished by more than two-thirds since Maisel began photographing there, nearly 40 years ago. Seen through Maisel’s lens, these sites become abstractions that pulse with other-worldly colors and geometries—endangered landscapes imbued with a disquieting allure. Across each series, Maisel uses beauty “as a tool, a device for helping us focus our attention.”   David Maisel Spiraling 6, 2024 Archival Pigment Print, 2026 Image: 20 x 26.66 inches / Sheet: 22 x 28.66 inches Edition of 5 + 1 AP $3,000 INQUIRE   The limited editions coincide with the publication of View from the Precipice, the most comprehensive survey of Maisel’s career to date. Spanning more than four decades, the book brings together work from all of his major photographic series, as well as a selection of his paintings.  The volume features contributions by Alexander Nemerov and Geoff Manaugh, along with a conversation between Maisel and Booker Prize–winning author Samantha Harvey. Together, the images and texts offer an expansive account of one of the most distinctive and influential photographic practices of the past several decades. David Maisel (b. 1961, New York, NY; lives and works in the San Francisco Bay Area, CA) is a recipient of the Guggenheim Fellowship (2018), as well as an Individual Artist’s Grant from the National Endowment for the Arts (1990) and Investing in Artists Grant from the Center for Cultural Innovation (2011). In addition to View from the Precipice, his work has been the subject of seven monographs: The Lake Project (Nazraeli Press, 2004), Oblivion (Nazraeli Press, 2006), Library of Dust (Chronicle Books, 2008), History’s Shadow (Nazraeli Press, 2011), Black Maps (Steidl, 2013), Mount St Helens: Afterlife (Ivorypress, 2018), and Proving Ground (Radius Books and the Nora Eccles Harrison Museum of Art/Utah State University, 2020). Maisel's works are collected by such institutions as the George Eastman Museum, Rochester, NY; J. Paul Getty Museum, Los Angeles, CA; Library of Congress, Washington DC; Los Angeles County Museum of Art, CA; Metropolitan Museum of Art, New York, NY; Minneapolis Institute of Arts, MN; Museum of Fine Arts, Houston, TX; National Gallery of Art, Washington DC; San Francisco Museum of Modern Art, CA; San Jose Museum of Art, CA; Victoria and Albert Museum, London, UK; Yale University Art Gallery, New Haven, CT, among many others. Sales Inquiries: alexandra@hainesgallery.com Press Inquiries: irene@hainesgallery.com

2 Marina Boulevard, Building CSan Francisco, CA 94123 US Tue - Sat: 10:30 AM - 5:30 PM #thehainesgallery#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#artfunnow#artfuncollect#artfunaffordable#artfunhappy