An examination of the art world's control over Indigenous art, placing the importance of art over tribal sovereignty, in regards to the Jimmie Durham Cherokee ancestry debate.

A discussion of the recent trend for white French-descendants to "self-Indigenize" by using genealogy to create identity. Uses the example of Edmée and Catherine Lejeune, two Acadienne sisters born prior to 1635, who have been turned into “Mi’kmaw” women.

Uses artist Jimmie Durham and the exhibition Jimmie Durham: At the Center of the World to illustrate the issues connected with Indigenous identity. Jimmie Durham is a self-proclaimed Cherokee artist, whose ethnicity has been challenged by the Cherokee Nation.

The author examines the creation of the Jimmie Durham: At the Center of the World exhibit at the Hammer Museum in Los Angeles, California, his supporters questioning of tribal denial of his claim to Cherokee ancestry and its importance regarding Indigenous identity and sovereignty.

Discussion of the controversy surrounding the identity of artist Jimmie Durham and the exhibition Jimmie Durham: At the Center of the World. Durham's claims to having Cherokee ancestry are denied by the Cherokee Nation. Author argues that by displaying Durham's works the art establishment may be seen to be substantiating his claims and invalidating tribes' sovereignty over citizenship.

Looks at the artist's claim of Cherokee ancestry by examining his use of excerpts from a letter written in Cherokee syllabary by Zeke Proctor in his work Proctor's Letter.

A re-evaluation of Jimmie Durham's work, taking into account the artist's fraudulent claims to Cherokee ancestry and discussion of the implications for scholars, art critics, collectors, and viewers of his works.