Introduction
1 Important work on Edgar Heap of Birds has appeared primarily in essays
and exhibition catalogs. See Kathleen Ash- Milby and Truman T. Lowe,
eds., Edgar Heap of Birds: Most Serene Republics (Washington, DC: National
Museum of the American Indian, Smithsonian Institution, 2009); Jeanette
Ingberman, Papo Colo, Jean Fisher, Lowery Stokes Sims, and Hachivi Ed-
gar Heap of Birds, Claim Your Color, exhibition catalog (New York: Exit Art,
1989); Kate Morris, “Picturing Sovereignty: Landscape in Native American
Art,” in Painters, Patrons, and Identity: Essays in Native American Art to Honor
J.J. Brody, ed. Joyce M. Szabo (Albuquerque: University of New Mexico
Press, 2001), 187 209; Kate Morris, “Reading between the Lines: Text
and Image in Contemporary Native American Art,” American Indian Art
Magazine 34, no. 2 (spring 2009): 52 59; W. Jackson Rushing III, “Street
Chiefs and Native Hosts: Richard Ray (Whitman) and Hachivi Edgar Heap
of Birds Defend the Homeland,” in Green Acres: Neo- colonialism in the
U.S., ed. Christopher Scoates (St. Louis: Washington University Gallery
of Art, 1992), 23 36; W. Jackson Rushing III, ‘In Our Language’: The Art
of Hachivi Edgar Heap of Birds,” Third Text 19, no. 4 (July 2005): 365 84;
Nancy J. Blomberg, ed., [Re]inventing the Wheel: Advancing the Dialogue on
Contemporary American Indian Art (Denver: Denver Art Museum, 2008);
and Shanna Ketchum, “Native American Cosmopolitan Modernism(s):
A Re- articulation of Presence through Time and Space,” Third Text 19, no.
4 (July 2005): 357 64. I have written about Heap of Birds: Bill Anthes,
“Contemporary Native Artists and International Biennial Culture,” Visual
Anthropology Review 25, no. 2 (fall 2009): 109 27; and Bill Anthes, “Eth-
ics in a World of Strange Strangers: Edgar Heap of Birds at Home and
Abroad,” Art Journal 71, no. 3 (fall 2012): 58 77.
NOTES
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