BOSTON, MASS.- This October, the Institute of Contemporary Art/Boston (ICA) opens An Indigenous Present, a thematic exhibition spanning 100 years of contemporary Indigenous art. The exhibition includes new commissions and significant works by 15 artists who use strategies of abstraction to represent personal and collective narratives, describe specific and imagined places, and build upon cultural and aesthetic traditions. Co-organized by artist Jeffrey Gibson and independent curator Jenelle Porter, the exhibition offers an expansive consideration of Indigenous art practices that highlights a continuum of elders and emerging makers, and premieres newly commissioned site-specific works by Raven Chacon, Caroline Monnet, and Anna Tsouhlarakis. An Indigenous Present emerges from Gibson and Porter’s 2023 landmark publication of the same name, which, through a collaborative process, brought together work by Native North American artists exploring diverse approaches to concept, form, and medium. Their engagement with artists during the making of the book inspired this exhibition—one that demonstrates the endless variability of abstraction and its capacity to hold multiple forms and histories. An Indigenous Present debuts at the ICA, where it will be on view from October 9, 2025, through March 8, 2026, before traveling to the Frist Art Museum in Nashville (June 26—September 27, 2026) and the Frye Art Museum in Seattle (November 7, 2026—February 14, 2027).

“This exhibition is one take on the field of contemporary art and culture by Native and Indigenous makers. Some of these artists have been working for decades, and I follow in their path; others are at an earlier stage in their career, and I see new routes and possibilities in their respective practices. Together, they are amplifying the histories that have come before them and building a new context for present and future artists,” said Gibson.

​​Porter added: ​“Since curating Jeffrey’s first solo museum exhibition at the ICA in 2013, he and I have continued to think together about ways to enlarge art histories. This exhibition is a proposal, one that explores the ways that these artists challenge the often arbitrary, historical categorizations of art by Indigenous makers​.”​

The exhibition unfolds across 10 galleries, beginning with a focus on the work of George Morrison and Mary Sully, two important forebearers in the development of contemporary Indigenous art during the first half of the 20th century. Throughout the exhibition, works by emerging artists are positioned in dialogue with those by more established makers. Kay WalkingStick and Dakota Mace explore seriality and repetition in bodies of work realized in the 1970s and 2020s, respectively. WalkingStick’s Chief Joseph Series—dedicated to the heroic Niimíipuu / Nez Perce chief—presents a grid of 32 paintings that characterize the artist’s decades-long devotion to serial forms and storytelling. Mace’s So’ II (Stars II) is composed of 40 unique chemigram prints that draw on Diné (Navajo) design histories and heritage. In another artistic dialogue, George Morrison and Teresa Baker evoke the land and light of their own ancestral homelands through an interplay of color and form. Morrison, who trained alongside Abstract Expressionists painters in New York in the 1950s, is known for vibrant compositions, especially those inspired by the horizon near his Lake Superior, MN, home. Baker composes with yarn, paint, willow, and hide on irregularly cut artificial turf to create large-scale abstractions that convey her memories of place, such as the Northern Plains of her youth, as well as legacies of color field painting and collage.

At the ICA, An Indigenous Present includes two new commissions that expand the exhibition beyond the galleries. An immersive sound work by Raven Chacon will fill the ICA’s Founders Gallery overlooking Boston Harbor. Monnet’s site-specific installation for the museum’s Sandra and Gerald Fineberg Art Wall is composed of commercial building materials—such as Tyvek and roofing underlayment—that are sewn into a fractal-based composition inspired, in part, by Boston’s 600-year history of land reclamation and the ICA’s harbor location. The fractal patterns, or population “blooms,” derive from Anishinaabeg designs that, for the artist, symbolize interconnectedness, knowledge transmission, and kinship. Throughout the run of the exhibition, the ICA will host a series of performances of Raven Chacon’s scores and sound works, a film series curated by artist Sky Hopinka in the ICA’s Barbara Lee Family Foundation Theater, and a number of other public programs.