The Haines Gallery presents ~Just One Work/ Wendy Red Star~ as part of the 250 Year , Indigenous Futures show currently at the gallery.

 Wendy Red Star, Crow Tribal member, work a photographic collage with fabric features her piece depicting  the 2025 Crow Fair, Montana,. Ms, Red Star is a distinguished artist with multiple museum show, fellowships, and art awards.  See details below 

Just One Work | Wendy Red Star Take a closer look at a single artwork from our current exhibition 250 Years, Indigenous Futures. Today, we proudly present:   WENDY RED STAR Chiaxxúapilake (Fifty), 2025 Fabric with archival pigment print photograph on board 25.25 x 49.25 x 1.25 inches, framed INQUIRE Wendy Red Star’s multidisciplinary practice is grounded in the histories, archives, and her lived experience of the Apsáalooke (Crow) Nation.  Drawn from her ongoing series A Float for the Future, Red Star’s 2025 photographic collage Chiaxxúapilake (Fifty) highlights a pair of ornately decorated parade cars of the annual Crow Fair. Held each August in Crow Agency, Montana, where the artist was raised, the six-day event is the largest gathering of Native Americans in the United States. There, in a daily morning parade, automobiles join horses as ceremonial vehicles adorned with beadwork, saddles, Pendleton blankets, traditional regalia including elk-tooth dresses, and other markers of Apsáalooke pageantry—symbols of an enduring Tribal culture adapted for contemporary life.   Detail from Wendy Red Star, Chiaxxúapilake (Fifty), 2025   Red Star likens these parade vehicles to “maps of identity,” offering insights into the families and lineages they represent. She collages her images onto backdrops of colorful satin fabric often worn under traditional regalia made of wool. “Incorporating both the outer regalia and the clothes underneath is a way of acknowledging the identity of the Apsáalooke people, not just in terms of how we celebrate publicly,” the artist shares. “It’s a window into what’s normally hidden or less visible; our public and private selves are set side-by-side.” Turning objects into subjects and allowing them to speak, Red Star reveals forms that, as she has said, “represent a resilient and proud community…that overcomes obstacles to keep its culture alive.” Wendy Red Star (b. 1981, Billings, MT; lives and works in Portland, OR), of the Piegan clan and from the district of Pryor, is a multidisciplinary artist whose practice is deeply rooted in the community, culture, and history of the Apsáalooke (Crow) people. Her first career survey, Wendy Red Star: A Scratch on the Earth, opened at the Newark Museum of Art in 2019 and traveled to the San Antonio Museum of Art and Columbus Museum of Art through 2023.   Her first career survey, Wendy Red Star: A Scratch on the Earth, opened at the Newark Museum of Art in 2019 and traveled to the San Antonio Museum of Art and Columbus Museum of Art through 2023. Her work has been presented internationally at institutions including the Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum, The Broad, J. Paul Getty Museum, and Fondation Cartier pour l’Art Contemporain, as well as the 2023 Sharjah Biennial and 2026 NGV Triennial. A major solo exhibition will open at the Smithsonian’s National Portrait Gallery, Washington, DC, in 2027. Red Star was named a MacArthur Fellow in 2024, the same year she received the International Center of Photography’s Infinity Award. Other honors include an Anonymous Was A Woman Award (2022), Smithsonian Artist Research Fellowship (2018), and Louis Comfort Tiffany Foundation Biennial Award (2017). Her monographs include Delegation (Aperture/Documentary Arts, 2022) and Wendy Red Star: Bíilukaa (Radius Books, 2023). Her work is held in more than 80 public collections, including the Guggenheim Museum, Metropolitan Museum of Art, Museum of Modern Art, San Francisco Museum of Modern Art, Smithsonian American Art Museum, and Whitney Museum of American Art. Installation view of Wendy Red Star's works in 250 Years, Indigenous Futures at Haines Sales Inquiries: alexandra@hainesgallery.com Press Inquiries: irene@hainesgallery.com   Images: 1 & 2) Wendy Red Star, Chiaxxúapilake (Fifty), 2025. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson; 3) Portrait of Wendy Red Star. Courtesy the artist and Roberts Projects, Los Angeles. Photo: John D. and Catherine T. MacArthur Foundation; 4) Installation view of 250 Years, Indigenous Futures. Photo: Shaun Roberts.

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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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