January 1, 2026 - December 31, 2026
January 1, 2026
December 31, 2026
America/Chicago
2026 Exhibitions : We Hold These Truths
Introducing the 2026 Exhibition Theme
As we planned our exhibitions for 2026, the 250th anniversary of the Declaration of Independence, the DAI team and a panel of regional arts professionals asked one powerful question: What is American art?
We reached a clear conclusion: American identity holds many truths—complex, diverse, and sometimes contradictory—and art uniquely expresses every story, perspective, challenge, and hope that shapes our nation’s past and present.
In 2026, we invite you to explore these truths with us. Throughout the year, we’ll host exhibitions, classes, and programs that celebrate the many facets of American art and identity.
Reflect, create, and share with us: What does your truth look like?
Exhibition Schedule
Q1: Truths of Culture and HistoryOn view January 12–April 3, 2026
Fur Trade Nation: An Ojibwe’s Graphic HistoryCarl Gawboy
Ojibwe Adornment In Ribbons, Cloth, Beads, and FurWendy Savage
Part of our 2026 "We Hold These Truths" programming.Funding provided by the Minnesota Humanities Center and the National Endowment for the Arts
Q2: Truths of Community
2026 Annual Member ShowTheme: We Hold These Truths
Part of our 2026 "We Hold These Truths" programming.Funding provided by the National Endowment for the Arts
Q3: Truths of Visual Language
Ish Meets a MermaidJonathan Thunder, Vera Bianchini, Camila Guillen
Send FlowersCody Paulson and Stephen Pestalozzi
Part of our 2026 "We Hold These Truths" programming.Funding provided by the National Endowment for the Arts
Q4: Truths of Self and Materials
Lauren Faherty, Robb Quisling, and Andrew Webster
Part of our 2026 "We Hold These Truths" programming.Funding provided by the National Endowment for the Arts
Thank You to Our 2026 Exhibition Advisory Panel
Christina Woods, Deb Eagle, Tia Keobounpheng, Paul LaJeunesse, Wendy Savage, Jesse Switters, Madeline Kayser, Aurora Webster, Meg Litts, Robb Quisling, Jonathan Thunder, Sam Zimmerman
Duluth Art Institute
Wendy Savage |
Ojibwe Adornment in Ribbons, Cloth, Beads, and Fur
January 12, 2026 - April 3, 2026
January 12, 2026
April 3, 2026
America/Chicago
Ojibwe Adornment in Ribbons, Cloth, Beads, and Fur
Art Night Out: Fur Trade Nation and Ojibwe Adornment reception & artist talk, March 26, 5:30–8:00pm
Learn more and register for Art Night Out
Truths of Culture and History
Our “We Hold These Truths” themed year starts with an exploration of Truths of Culture and History. Two exhibitions are in conversation: Fur Trade Nation: An Ojibwe’s Graphic History by artist and historian Carl Gawboy provides education of the history and impact of the Fur Trade Nation, and Ojibwe Adornment in Ribbons, Cloth, Beads, and Fur by designer and curator Wendy Savage demonstrates how past creative tradition informs and enriches our present. A collection of songs created by musician Tufawon, inspired by the same topics, enriches the visual gallery experience with this newly created EP. Together, they present watercolor paintings, multimedia textiles, music, and designed works by Savage and eight additional Anishinaabe artists.
At its heart, the dual-exhibition experience reflects the history of international trade and exchange in the northern region. For generations, the Anishinaabe have been central to these interactions, acting as cultural connectors across languages, traditions, and geographies. As Gawboy reminds us, “There isn’t ONE northern culture.” These exhibitions offer a view of how this confluence of culture has continued to impact and shape our modern society and artforms.
Ojibwe Adornment
Savage extends the history-centered dialogue of Fur Trade Nation into the present through her practice in textiles and fashion, which merges Anishinaabe traditional attire, textile styles, and production methods with contemporary ideas. Savage brings in the work of eight additional Anishinaabe artists, each contributing their own truths and designs. Their pieces invite viewers to consider how the past continues to shape the present. This exhibition honors traditional Ojibwe designs and ideology, while presented as contemporary art—through belongings, images, and narrative.
Additional Featured Artists:
Chi Ma’iingan / Herb Fineday (Fond du Lac), Rene Ann Goodrich (Bad River), Marcy McIntire (Grand Portage), Warren Miller (Fond du Lac), Joe Savage (Fond du Lac), Dr. Lisa Savage (Fond du Lac), Christina Woods (Bois Forte)
Curation Statement by Wendy Savage
I begin designing an exhibition by gathering inspiration from many sources. I draw from past experiences, conversations, and the constant question of how to create an exciting and engaging event for my audience. I am influenced by the wisdom I received many years ago from George Morrison and Carl Gawboy.
We must include the work of new and upcoming Native artists—pieces that carry powerful narratives rarely seen by the public. My goal is to bring those perspectives forward and to give voice to both contemporary and traditional Native artists of our Northern region, presenting work that represents a lifetime of knowledge.
Coming from a family of accomplished artists and with more than 40 years of curating experience, I have a deep well of knowledge to draw from. The traditional art forms of our local Tribes must be passed on and preserved by younger artists. Many Native artists are embracing and embarking on an exciting blend of new materials and concepts within traditional practices.
This exhibition began with a visit to Carl’s studio, where we shared our pieces and let ideas build. When he wondered about including Joe Savage’s quilled coat, I immediately said I’d ask—he’s my cousin. Then came the idea of a fully beaded bandolier bag, and we knew Marcie McIntire would be perfect. Our creative exchange flows naturally after years of collaboration.
Working with Native artists takes intentional effort and relationship-building over time. I have dedicated my life to building these relationships and am grateful for the family, extended family, and community connections that allow me to bring these artworks together. This has been my life’s work as an artist and curator.
A Note About Language
The term Anishinaabe is the name that people traditionally use to refer to themselves. It translates roughly to “original people” or “first people.” Anishinaabe is a term used to emphasize self-identification, culture, and language identity. It encompasses a broader cultural and linguistic group that includes Ojibwe, Odawa, and Algonquin peoples, among others.
Ojibwe is the more commonly used English-language term for one branch of the Anishinaabe people.
Usage tip: When writing or speaking, it is respectful to use "Anishinaabe" when referring to the people in a cultural or self-identified context, and "Ojibwe" when referring specifically to the language, certain communities, or historical contexts that use that term.
Duluth Art Institute
Carl Gawboy |
Fur Trade Nation: An Ojibwe’s Graphic History
January 12, 2026 - April 3, 2026
January 12, 2026
April 3, 2026
America/Chicago
Fur Trade Nation: An Ojibwe’s Graphic History
Art Night Out: Fur Trade Nation and Ojibwe Adornment reception & artist talk, March 26, 5:30–8:00pm
Learn more and register for Art Night Out
Truths of Culture and History
Our “We Hold These Truths" themed year starts with an exploration of Truths of Culture and History. Two exhibitions are in conversation: Fur Trade Nation: An Ojibwe’s Graphic History by artist and historian Carl Gawboy provides education of the history and impact of the Fur Trade Nation, and Ojibwe Adornment in Ribbons, Cloth, Beads, and Fur by designer and curator Wendy Savage demonstrates how past creative tradition informs and enriches our present. A collection of songs created by musician Tufawon, inspired by the same topics, enriches the visual gallery experience with this newly created EP. Together, they present watercolor paintings, multimedia textiles, music, and designed works by Savage and eight additional Anishinaabe artists.
At its heart, the dual-exhibition experience reflects the history of international trade and exchange in the northern region. For generations, the Anishinaabe have been central to these interactions, acting as cultural connectors across languages, traditions, and geographies. As Gawboy reminds us, “There isn’t ONE northern culture.” These exhibitions offer a view of how this confluence of culture has continued to impact and shape our modern society and artforms.
Fur Trade Nation Watercolors
Gawboy’s watercolors highlight everyday life, personal histories, and the overlooked stories of the fur trade nation. Gawboy states that he "realized that Minnesotans (Ojibwe and others) have a blank spot about the fur trade, some 250 years worth of history disappeared.” Having dedicated much of his life to teaching and researching, Carl Gawboy taught in the Indian/Native American Studies program at UMD and St. Scholastica. His teaching repertoire included a survey of American Indian Arts, based on his background in art.
Later on, he developed and taught a course on the history of the fur trade, from the perspective of Indigenous history and culture.
Gawboy reflects that, as he grows older, “the upcoming generation is removed from these events. So the stories become just as important as the subject.” Having parents who were born in 1905, Gawboy absorbed their stories and set out to educate the public along with his lifetime research in his paintings.
A Note About Language:
The term Anishinaabe is the name that people traditionally use to refer to themselves. It translates roughly to “original people” or “first people.” Anishinaabe is a term used to emphasize self-identification, culture, and language identity. It encompasses a broader cultural and linguistic group that includes Ojibwe, Odawa, and Algonquin peoples, among others.
Ojibwe is the more commonly used English-language term for one branch of the Anishinaabe people.
Usage tip: When writing or speaking, it is respectful to use "Anishinaabe" when referring to the people in a cultural or self-identified context, and "Ojibwe" when referring specifically to the language, certain communities, or historical contexts that use that term.
Duluth Art Institute
