Jeffrey Gibson’s diverse practice synthesizes the cultural and artistic traditions of his Cherokee and Choctaw heritage with the visual languages of modernism and themes from contemporary popular and queer culture. His work is a vibrant call for queer and Indigenous empowerment, envisioning a celebration of strength and joy within these communities. INFINITE INDIGENOUS QUEER LOVE (2020) continues the artist’s project of incorporating craft into contemporary art. The beaded canvas evokes the ornate regalia of inter-tribal Native American powwows and other ceremonial garments while also referencing the lavish ornamentation of contemporary artists like Nick Cave. At the same time, the canvas’s bright palette and psychedelic composition alludes to Navajo “eye-dazzler” weavings, which developed in the 1890s with the arrival in various trading posts of brightly colored yarns from mills in industrial towns in the north eastern United States. Speaking to narratives of resistance, resilience, and endurance, INFINITE INDIGENOUS QUEER LOVE coopts the language of geometric abstraction to reflect on, in the curator Marshall N. Price’s words, “both the problematic legacies of … [Gibson’s] own heritage and the problematic legacy of modernism.”