1	Modern Native American Art, Class 4 The Southwest, c.1848-1935
2	Pitt Rivers: (museum opened 1870s): typological categorization (as opposed to geographical); unlabeled; crowded display; Darwinist (objects to demonstrate evolution; superiority of Western culture); “Tree of Cultures”;
3	Stewart Culin: collecting for Heye Foundation c.1900-1910. Was nicknamed “Old Things” for his desire for used objects; did not listen to informants, believed objects held all necessary information; the educated collector as the authority of value; worked within the salvage paradigm; organized objects into regions; had one life-model; part of the collecting frenzy; not educated; began with games and Chinese culture;
4	Frans Boas: liked to use mannequins to display the objects to offer context, but the mannequins should not be too life-like; museum as place to entertain and educate; thought about visitor’s experience through the museum; need for labels and texts, monographs and brochures; worked in museums in the early 1900s-1910s then moved into academia; he was responsible for training the most prominent anthropologists of the next generation (Mead, Bunzel, Benedict)
5	Exhibition of Canadian West Coast Art Native and Modern,1927: showed older pieces next to Euro-American artists work (like Emily Carr) that included Native art; first to hang Native art as a fine art; shown at a time when Native land and water rights were in jeopardy; lack of context; minimal labeling and text;
6	Indian Art of the United States, 1941: in MOMA, used the entire museum
7	Exposition of Indian Tribal Arts,1931:
8	Indian Art of the United States, 1941: , Rene d’Harnoncourt: in MOMA, used the entire museum; decontextualizing to put into an art history of Native art based on a European model; recontextualizing to discuss the art as modern; focusing on art of the Americas, unrest in Europe; not as primitive; as Natives gained citizenship; Indian Reorganization Act; success of Indian Art Market (and other shows in the Southwest and elsewhere); rise of a Nationalist spirit;
9	Hopi, Nampeyo, Polychrome bowl with eagle tail design, 1903
10	Hopi, Nampeyo of Hano, Bowl with migration design, c. 1915-16.
11	Fannie Nampeyo, Hopi, Polychrome Tiles, 1945
12	Acoma Polychrome jar, ca. 1880-1900
13	Shelves of the Bernalillo Mercantile Company, 1921, with several examples of the Aguilar style pottery marketed by Julius Seligman. The jars with decoration entirely in black, almost completely obscuring the white slip, were probably made by Felipita Garcia.
14	Maria and Julian Martinez, San Ildefonso, Black-on-black jar, 1935.
15	San Ildefonso, Maria Martinez Black-on-black place setting, c. 1930-40.
16	San Ildefonso, Maria and Julian Martinez Jar, C. 1925; one of Maria’s largest polychromes, this pot is said to have won a prize at the Chicago World’s Fair for being 99.5% symmetrical.
17	Cochiti effigy vessels and figurines for sale by L.Fisher of Rio Chiquito Street, Santa Fe, ca, 1880.
18	Tesuque ‘rain gods:’ Ca. 1900. Finishes on Tesuque figurines of this era vary: Some have white slip, others mica; paints were often applied after firing.
19	Dine (Navajo) Bridle, 1870s.
20	Dine (Navajo), bracelet, 1870s
21	Dine (Navajo) bracelet, 1900-1920s.
22	Dine (Navajo) Necklace, 1920s.
23	Dine (Navajo) Bracelet, 1930s.
24	Dine (Navajo) Phase II Chiefs Blanket, 1860-1865
25	Dine (Navajo) EARLY PICTORIAL BLANKET, CA. 1880. With the coming of the railroad, new materials and pictorial design motifs, including trains themselves, appeared in Navajo weaving. This blanket was purchased at an auction in Boston in the early 1880s.
26	Dine(Navajo), Chief Blanket BLANKET, PHASE III, 1870-1880
27	Dine (Navajo), Yei Pattern Rug, c. 1900.
28	Classic sarape, 1840-1860.
29	Early Crystal rug, 1905-191O.
30	Dine (Navajo), Hubbell Rug, n.d.
31	Dine (Navajo), Ganado Red, n.d.
32	Two Grey Kills rug, n.d.
33	Dine (Navajo), Teec Nos Pos design, n.d.
34	Fred Kabotie, Hopi, Corn Dance, 1918
35	Fred Kabotie, Hopi, Young Men’s Spring Ceremony, c. 1920-21
36	Fred Kabotie, Hopi, Hopi Snake Dance, c. 1920-21
37	Fred Kabotie, Hopi, Zuni Shalako, c. 1928-32
38	Buffalo Dancers, Crescencio Martinez, 1918
39	Crescencio Martinez, San Ildefonso, Tewa Eagle Dancer,1918
40	Crecensio Martinez, San Ildefonso, Mountain Sheep Dance, 1918
41	San Ildefonso, Awa Tsireh, Pottery Firing, c.1921-22
42	Awa Tsireh, San Ildefonso, Green Corn Ceremony at Santo Domingo, c. 1922
43	Awa Tsireh, San Ildefonso, Koshare on Rainbow, c. 1925-30
44	Tonita Pena, San Ildefonso, Deer Dance--Two Lady and Two Man, c. 1920-21
45	Gerald Nailor (1917-1952), Dine (Navajo) , Navajo Woman on Horseback, 1942,
46	Pablita Velarde (b1918), Santa Clara, Koshares of Taos, 1947, watercolor on paper
47	Harrison Begay, Dine (Navajo),(1919-), Night Chant Ceremonial Hunt. 1947, watercolor on paper
48	Albert Looking Elk (?-ca. 1941), Taos, View of Taos, Ca. 1930s, oil on Masonite. Looking Elk was a friend and model to Oscar Berninghaus in Taos in the l920s.