Heather Igloliorte is Associate Professor of Art History at Concordia University, Canada.Carla Taunton is Associate Professor of Art History and Contemporary Culture at NSCAD University, Canada.

• Introduction: The Path Before Us: Generating and Foregrounding Indigenous Art Theory and Method SECTION I Sovereignty and Futurity 1. Art, Visual Sovereignty and Pushing Perceptions; 2. Dancing Sovereignty: Reclaiming the Grease Trail Through Protocol, Movement, and Song 3. Shifting the Paradigm of Art History A Multi-sited Indigenous Approach 4. An Inuit Approach to Archival Work Based on Respect and Adaptability 5. Overclock Our Imagination!: Mapping the Indigenous Future Imaginary 6. A Manifesto of Close Encounters SECTION II Kinship, Care, Relationality 7. Kitchen Tables and Beads: Space and Gesture in Contemplative and Creative Research 8. Expanding Relationships: Beyond the Non 9. Wisdom in Beauty: Respect in Indigenous Curation 10. Balancing Curatorial Indigenous and Queer Belonging: In Conversation with Artist and Curator Adrian Stimson (Blackfoot Siksika Nation) 11. Taking Good Care: Collaborative Curating and the Alberni Indian Residential School Art Collection 12. Betraying the Object: Relational Anxieties and Bureaucratic Care in Indigenous Collections Research 13. A Brief Conversation on Visiting, Mentoring, The Land, and Art History SECTION III Indigenous Ways of Knowing and Being 14. miýikosiwin: Spirit, Land and Form Among Turtle Island’s Indigenous Artists, Designers and Architects 15. Indigenous Curation in LA: The People’s Home: Winston Street 1974 16. The Giving Tree: Methodologies of Generosity 17. Frontrunners as an Exploration of Indigenous Littoral Curation 18. A:Shiwi Art History: The Strength of Pueblo Place 19. Inuit Research Methodologies: Conversations Toward Reclaiming Inuit Protocols with Robert Comeau 20. A Braided Process: Decolonizing, Indigenizing, and Self-Determination 21. There are No Metaphors: A Proposal for Dreaming Indigenous Philosophies into Studio Arts Education SECTION IV Anti-colonial Practices 22. From Colonial Trophy Case to Non-Colonial Keeping House 23. An Ethic of Decolonial Questioning: Exercising the Quadruple Turn in the Arts and Culture Sector 24. Unsettling Artistic Expectations With Two-eyed Seeing 25. Decolonizing Representation: Ontological Transformations Through Re-mediation of Indigenous Representation in Popular Culture and Indigenous Interventions 26. Care Full Discomfort: Engaged Decolonial Practice, People and Admin 27. Telling the Stories of Objects in Museum Collections: Some Thoughts and Approaches 28. Art Racism to Indigenography Methodology 29. A Glossary of Insistence SECTION V Stories, Living Knowledges, Continuity and Resurgence 30. Writing and Sharing Our Art Histories: Storying Histories of Art: Activating the Visual 31. Bringing Stories to Sites at Shore Lunch Clarkson/Mississauga 32. “The Words You Choose are Purposeful”: On Inuit Writing and Editing 33. Beyond Queer Survivance 34. Indigenous Abstraction: A Vehicle for Visioning 35. Alaska Native Artistic Reclamation and the Persistence of Indigenous Aesthetics 36. Foregrounding Pivalliatitsinik/Piggautigijaunikkut: Indigenous Mentorship in Creative Spaces

Heather Igloliorte is Associate Professor of Art History at Concordia University, Canada.Carla Taunton is Associate Professor of Art History and Contemporary Culture at NSCAD University, Canada.

• Introduction: The Path Before Us: Generating and Foregrounding Indigenous Art Theory and Method SECTION I Sovereignty and Futurity 1. Art, Visual Sovereignty and Pushing Perceptions; 2. Dancing Sovereignty: Reclaiming the Grease Trail Through Protocol, Movement, and Song 3. Shifting the Paradigm of Art History A Multi-sited Indigenous Approach 4. An Inuit Approach to Archival Work Based on Respect and Adaptability 5. Overclock Our Imagination!: Mapping the Indigenous Future Imaginary 6. A Manifesto of Close Encounters SECTION II Kinship, Care, Relationality 7. Kitchen Tables and Beads: Space and Gesture in Contemplative and Creative Research 8. Expanding Relationships: Beyond the Non 9. Wisdom in Beauty: Respect in Indigenous Curation 10. Balancing Curatorial Indigenous and Queer Belonging: In Conversation with Artist and Curator Adrian Stimson (Blackfoot Siksika Nation) 11. Taking Good Care: Collaborative Curating and the Alberni Indian Residential School Art Collection 12. Betraying the Object: Relational Anxieties and Bureaucratic Care in Indigenous Collections Research 13. A Brief Conversation on Visiting, Mentoring, The Land, and Art History SECTION III Indigenous Ways of Knowing and Being 14. miýikosiwin: Spirit, Land and Form Among Turtle Island’s Indigenous Artists, Designers and Architects 15. Indigenous Curation in LA: The People’s Home: Winston Street 1974 16. The Giving Tree: Methodologies of Generosity 17. Frontrunners as an Exploration of Indigenous Littoral Curation 18. A:Shiwi Art History: The Strength of Pueblo Place 19. Inuit Research Methodologies: Conversations Toward Reclaiming Inuit Protocols with Robert Comeau 20. A Braided Process: Decolonizing, Indigenizing, and Self-Determination 21. There are No Metaphors: A Proposal for Dreaming Indigenous Philosophies into Studio Arts Education SECTION IV Anti-colonial Practices 22. From Colonial Trophy Case to Non-Colonial Keeping House 23. An Ethic of Decolonial Questioning: Exercising the Quadruple Turn in the Arts and Culture Sector 24. Unsettling Artistic Expectations With Two-eyed Seeing 25. Decolonizing Representation: Ontological Transformations Through Re-mediation of Indigenous Representation in Popular Culture and Indigenous Interventions 26. Care Full Discomfort: Engaged Decolonial Practice, People and Admin 27. Telling the Stories of Objects in Museum Collections: Some Thoughts and Approaches 28. Art Racism to Indigenography Methodology 29. A Glossary of Insistence SECTION V Stories, Living Knowledges, Continuity and Resurgence 30. Writing and Sharing Our Art Histories: Storying Histories of Art: Activating the Visual 31. Bringing Stories to Sites at Shore Lunch Clarkson/Mississauga 32. “The Words You Choose are Purposeful”: On Inuit Writing and Editing 33. Beyond Queer Survivance 34. Indigenous Abstraction: A Vehicle for Visioning 35. Alaska Native Artistic Reclamation and the Persistence of Indigenous Aesthetics 36. Foregrounding Pivalliatitsinik/Piggautigijaunikkut: Indigenous Mentorship in Creative Spaces

Heather Igloliorte is Associate Professor of Art History at Concordia University, Canada.Carla Taunton is Associate Professor of Art History and Contemporary Culture at NSCAD University, Canada.

• Introduction: The Path Before Us: Generating and Foregrounding Indigenous Art Theory and Method SECTION I Sovereignty and Futurity 1. Art, Visual Sovereignty and Pushing Perceptions; 2. Dancing Sovereignty: Reclaiming the Grease Trail Through Protocol, Movement, and Song 3. Shifting the Paradigm of Art History A Multi-sited Indigenous Approach 4. An Inuit Approach to Archival Work Based on Respect and Adaptability 5. Overclock Our Imagination!: Mapping the Indigenous Future Imaginary 6. A Manifesto of Close Encounters SECTION II Kinship, Care, Relationality 7. Kitchen Tables and Beads: Space and Gesture in Contemplative and Creative Research 8. Expanding Relationships: Beyond the Non 9. Wisdom in Beauty: Respect in Indigenous Curation 10. Balancing Curatorial Indigenous and Queer Belonging: In Conversation with Artist and Curator Adrian Stimson (Blackfoot Siksika Nation) 11. Taking Good Care: Collaborative Curating and the Alberni Indian Residential School Art Collection 12. Betraying the Object: Relational Anxieties and Bureaucratic Care in Indigenous Collections Research 13. A Brief Conversation on Visiting, Mentoring, The Land, and Art History SECTION III Indigenous Ways of Knowing and Being 14. miýikosiwin: Spirit, Land and Form Among Turtle Island’s Indigenous Artists, Designers and Architects 15. Indigenous Curation in LA: The People’s Home: Winston Street 1974 16. The Giving Tree: Methodologies of Generosity 17. Frontrunners as an Exploration of Indigenous Littoral Curation 18. A:Shiwi Art History: The Strength of Pueblo Place 19. Inuit Research Methodologies: Conversations Toward Reclaiming Inuit Protocols with Robert Comeau 20. A Braided Process: Decolonizing, Indigenizing, and Self-Determination 21. There are No Metaphors: A Proposal for Dreaming Indigenous Philosophies into Studio Arts Education SECTION IV Anti-colonial Practices 22. From Colonial Trophy Case to Non-Colonial Keeping House 23. An Ethic of Decolonial Questioning: Exercising the Quadruple Turn in the Arts and Culture Sector 24. Unsettling Artistic Expectations With Two-eyed Seeing 25. Decolonizing Representation: Ontological Transformations Through Re-mediation of Indigenous Representation in Popular Culture and Indigenous Interventions 26. Care Full Discomfort: Engaged Decolonial Practice, People and Admin 27. Telling the Stories of Objects in Museum Collections: Some Thoughts and Approaches 28. Art Racism to Indigenography Methodology 29. A Glossary of Insistence SECTION V Stories, Living Knowledges, Continuity and Resurgence 30. Writing and Sharing Our Art Histories: Storying Histories of Art: Activating the Visual 31. Bringing Stories to Sites at Shore Lunch Clarkson/Mississauga 32. “The Words You Choose are Purposeful”: On Inuit Writing and Editing 33. Beyond Queer Survivance 34. Indigenous Abstraction: A Vehicle for Visioning 35. Alaska Native Artistic Reclamation and the Persistence of Indigenous Aesthetics 36. Foregrounding Pivalliatitsinik/Piggautigijaunikkut: Indigenous Mentorship in Creative Spaces