2017 — LOG at LUMP Gallery, Raleigh, NC, curated
by Maria Britton — AWKWARD MOMENTS, Lesley Heller Workspace, New York, NY 2015 — SACRED PLACES, Smithy Center for the Arts, Cooperstown, NY 2014 — MEMENTO MORI, Field Projects, New York, curated
by Deborah Brown — CROWD, curated
by Andrea Brown for The
Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated
by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated
by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated
by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated
by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated
by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated
by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago
Cultural Center, curated
by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated
by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated
by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackson
Accordingly, they were physically isolated, segregated, relocated and institutionalised, Their biological,
cultural, political, economic and social lives were regulated
by state and church «gatekeepers», mostly in secret, with permit systems to keep Aborigines in and
outsiders out of the areas known as reserves or missions.