with Kite (Oglála Lakȟóta), Cannupa Hanska Luger, and Rachel Martin, moderated by Candice Hopkins

This panel brings together Indigenous curators, artists, and collectors to discuss best practices for stewarding Indigenous art as collectors and collecting institutions. Centering Indigenous-led methodologies, the conversation will touch on research, relationship building, contracts, loaning and displaying Indigenous art.

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Bios

Kite (Oglála Lakȟóta) is an artist, composer, and scholar whose work merges Lakȟóta knowledge systems with performance, sound, sculpture, and computational media. She holds a PhD from Concordia University, Montréal. Kite is Director of the Wíhaŋble S’a Center for Indigenous AI, a National Endowment for the Humanities–designated Humanities Research Center at Bard College, where she is Distinguished Artist in Residence and Assistant Professor of American & Indigenous Studies. She is also Co-PI and Co-Director of the international Abundant Intelligences Research Program. Major projects include Cosmologyscape (Creative Time, 2022–24), Dreaming with AI (Institute of American Indian Arts Museum of Contemporary Native Arts, 2025), List Projects 31: Kite (MIT List Visual Arts Center, 2025), and Wičháȟpi Owihaŋke Waníča Kiŋ (Infinite Collapsing Star) (Bockley Gallery, 2025). Her work has been featured internationally at the Guatemala Biennial, Whitney Biennial, São Paulo Biennial, and the Shanghai Biennale. Kite is an enrolled citizen of the Oglala Sioux Tribe and lives in Catskill, NY.

Cannupa Hanska Luger (Mandan, Hidatsa, Arikara, Lakota) is an award-winning multidisciplinary artist and cultural innovator whose expansive practice introduces new methodologies, ideas, and speculative technologies rooted in Indigenous innovation. Through installation, performance, and community engagement, he uplifts cultural continuity, ecological repair, and collective care. His work is exhibited and collected internationally.

"My practice is rooted in the continuum of generations before me, the urgency for Indigenous visibility in this moment and the dreaming of Indigenous futures.” - Cannupa Hanska Luger

Website | Instagram | Facebook

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Rachel Martin is a Tlingít visual artist based in New York City and also serves as Creative Director and Co-Curator of the Gochman Family Collection. 

Her artistic practice explores the intersections of contemporary and traditional Indigenous worldviews, addressing identity, culture, and representation through incisive, often provocative works. Drawing on personal experience and traditional knowledge, Martin honors matriarchal contributions and challenges conventional notions of femininity. Martin uses wit, humor, and satire as curatorial tools to provoke viewers and challenge assumptions about Indigenous identity and art. Her work itself functions as a form of curating, as she assembles and examines personal memories along with modern figures and traditional Northwest coast iconography. 

Her dual role as both an artist and curator actively allow her to actively shape new perspectives on the ever changing role of an artist. 

rachelm@goch.com | @__rachelmartin__
gochmancollection.com | @gochmancollection

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Candice Hopkins is a citizen of Carcross/Tagish First Nation and lives in Red Hook, New York. Her writing and curatorial practice explore the intersections of history, contemporary art, and Indigeneity. She is Executive Director & Chief Curator of Forge Project, Taghkanic, New York, and Fellow in Indigenous Art History and Curatorial Studies, Bard College. She is curator of the exhibitions Indian Theater: Native Performance, Art, and Self-Determination Since 1969, at the Hessel Museum of Art, and the touring exhibitions Soundings: An Exhibition in Five Parts, co-curated with Dylan Robinson, and ᑕᑯᒃᓴᐅᔪᒻᒪᕆᒃ Double Vision, featuring textiles, prints and drawings by Jessie Oonark, Janet Kigusiuq, and Victoria Mamnguqsualuk. She was the Senior Curator for the inaugural 2019 and 2022 editions of the Toronto Biennial of Art and part of the curatorial team for the Canadian Pavilion at the 58th Venice Biennale, featuring the work of the media collective Isuma; as well as documenta 14, Athens and Kassel; and Sakahàn: International Indigenous Art, National Gallery of Canada, Ottawa. Her notable essays include “The Gilded Gaze: Wealth and Economies on the Colonial Frontier,” in the documenta 14 Reader; “Outlawed Social Life,” in South as a State of Mind; and “The Appropriation Debates (or The Gallows of History),” in Saturation: Race, Art, and the Circulation of Value (New Museum/MIT Press, 2020).