Individual files

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. 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).