Introduction: We Stand on their Shoulders Part I: Asserting Sovereignties 1. Sovereignty and Aesthetics 2. Indigenous Women Artists, Public Spaces 3. Reclaiming Artistic Knowledge and Practices 4. Methodologies of Exhibiting Native North American Art in International Contexts 5. Returning the Gaze of Western Art History 6. Hawaian Sovereignty and the Politics of Hawaiian Performance Art Part II: Materialities and Living Knowledges 7. The Subversive Stitch: Traditional Practice and Contemporary Indigenous Women's Art 8. Decolonizing Representation: Ontological transformations through Re-mediation of Indigenous Representation in Popular Culture and Indigenous Interventions 9. Belongings 10. Reclaiming Relations 11. Resurgence of Indigenous Languages and Land Connections in Art Making Part III: Writing and Sharing our Art Histories 12. Muddling Through: A Case for Methodological Diversity in Writing About Contemporary Indigenous Art 13. Making the Personal Political in the Art Historical Essay 14. A:shiwi Art History: Deh’ya dab Haydoshnawe/Our Arts and Our Culture 15. Aboriginography: Aboriginal Research Methodology - Indigenous Arts and Beyond 16. Approaches to Indigenous Art Writing for the Public Part IV: Engaging Communities 17.
Taking Good Care: Collaborative Curating and the Alberni Indian Residential School Art Collection 18. Decolonizing and Indigenizing: A Braided Process 19. Collecting from Community 20. Protocols and Processes for Ethical Arts Engagement in Hawaii 21. Community Collaboration, Care, and Relational Aesthetics in Inuit Curatorial Practice Part V: Kinship, Care, Relationality 22. Generosity, Profanity, and Humor: The Art of Decolonizing Natural History Museums 23. tikinaagan: Framing Pre-colonial Relationships 24. On Visiting 25. Critical Two-Spirit Interventions: Gender, Sexuality and Performance 26. Taking and Making Space: Indigenous Art Futures are Queer Fem af 27. Theorizing an Inuit Style Guide: Thinking Inuktut in English Part VI: Decolonial Methodologies towards Settler-Indigenous Relations 28. Primary Colours: Gathering Diverse Artists Together 29. Embodying Decolonial Methodology: Building and Sustaining Critical Settler Responsibility and Treaty Relations 30. Creative Pedagogies for Decolonization 31. Two-Eyed Seeing Part VII: Performativity and Embodied Practices 32. Dancing Sovereignty: Northwest Coast First Nations Dance Group Performances as Art History in Motion 33. The Giving Tree: Indigenous Concepts of Collaboration and Exchange 34. Excerpts from a glossary of insistence 35. Telling Stories: An Exploration of Story as Indigenous Art Theory 36. Against Hungry Listening 37. Ways of learning from the ancestors 38. Sensorial land-based art practices and Indigenous food Part VIII: Critical Museology and Curatorial Practices 39. Indigenizing Museums: New Directions, Ongoing Challenges 40. Frontrunners as an Exploration of Indigenous Littoral Curation 41. From Colonial Trophy Case to Non-Colonial Keeping House 42. Curating for the Global Public 43. Resistance, Resilience, and Sovereignty as curatorial methodology 44. Knowing and Not Knowing: Respect and Authority in Indigenous Curation 45. Understanding Inuit Knowledge in Museum Collections Part IX: Continuities, Cosmologies, Futurities 46. Romancing the Sovereign: Mapping the Indigenous Future Imaginary 47. Alaska Native Artistic Revitalization and the Persistence of Indigenous Aesthetics 48. Indigenous Abstraction: A Vehicle for Visioning 49. Indigenous languages and sounds from the land as methodology 50. Counting Coup, Burying the Ruler and other decolonial methodologies 51. Language, Art, and Indigenous AI 52. Indigenous Futurisms and Indigenous Game Transmedia
