Unapologetically Indigenous by Frank Buffalo Hyde

Opening Reception: Saturday, December 6, 2025, from 6 pm-9pm

Exhibition Runs: December 7 - January 18, 2026

​​

Frank Buffalo Hyde's Unapologetically Indigenous challenges conventional notions of representation and identity through a vibrant fusion of mixed media sculpture and painting. Hyde masterfully navigates the complexities of contemporary Native American identity, employing a unique artistic language that is both critically incisive and imbued with humor and pop culture references. His work is a kaleidoscopic journey, saturated with vivid colors and layered with allegorical meaning, inviting viewers to engage with societal critiques.

Hyde’s art delves deeply into the commodification of culture, a pervasive issue that often reduces rich cultural traditions to marketable commodities. Through his satirical lens, he deconstructs and reclaims narratives, asserting the vibrant and multifaceted roles for Native identity in the contemporary world. This self-proclaimed "consciously, culturally non-transactional" approach underscores his commitment to authenticity and resistance against commercial exploitation. His uncompromising satirical eye comments on cultural appropriation and societal disruption, prompting a re-evaluation of established power dynamics and cultural narratives.

At its core, Unapologetically Indigenous offers a defiant take on the often-skewed perceptions of Native American art and culture tourism. Hyde's allegorical work is intentionally geared towards Native people first, creating a space for internal dialogue and validation while simultaneously disarming external audiences through astute visual commentary. He weaves together references to antiquated technology with contemporary concepts of the metaverse, creating a rich tapestry of contemplation on the collective unconscious of the 21st century. This parallel provides a layered exploration of how history, technology, and identity intersect in the modern world, offering a powerful and essential voice to the ongoing conversation about indigeneity and representation.

As Buffalo Hyde explains: "My work is definitely not made to please the market. It's not made for collectors or curators. It's made for Indigenous people and myself. I decided long ago not to divulge any sort of cultural knowledge. I'm not selling my culture. Everything that I use already exists and anything in popular culture is fair game. I arrived at this by experimentation , I've tried on all the hats, all the clothes, all the personas. I even tried to do pretty art with no sort of content and people could sense it wasn't a true voice. I didn't feel good about making stuff like that either. My goal was never to be Santa famous- “Santa Fe,NM”  where I established my practice…it was always to take the art to other places. People following my career know that's what l've been doing. Sometimes as an artist I have to get out of my own way. I guess at some point, it's kind of hard to keep your idiosyncrasies out of something if you've been working in the visual vocabulary for a while.  First and foremost, I am pro-Indigenous, and that doesn't mean I'm anti-anything else. I made a decision long ago that my work would not profit from selling culture or divulging any sort of cultural knowledge or ceremony." I've been pretty consistent about that."  

Frank Buffalo Hyde, a distinguished artist of Onondaga Beaver Clan and Nimiipuu heritage, spent his formative years in New York, on his mother's Onondaga reservation. His artistic journey commenced at the age of 18, initially as a passionate hobby. However, it was his enrollment at the Institute of American Indian Arts that marked a significant turning point, propelling him to dedicate himself more seriously to his burgeoning art career.

Hyde's artwork is renowned for its striking visual language, frequently characterized by "Bold, Culturally Relevant and Inspiring" qualities. His canvases are a vibrant tapestry of color, often featuring powerful animal subjects, with buffaloes being a recurring and iconic motif, alongside representations of his tribal heritage. What truly distinguishes Hyde's approach is his innovative fusion of contemporary culture with the rich tapestry of Native American ideas. He skillfully weaves in elements of the internet and modern technology, creating a dynamic dialogue between ancient traditions and the digital age. At the heart of Hyde's artistic endeavor lies a profound intention: to illuminate the pressing social and political challenges that confront society today. The myriad issues prevalent in contemporary life, particularly those impacting Native American communities, serve as an unyielding wellspring of inspiration, fueling his unwavering commitment to his craft. 

His work has been shown at museums including the Wheelwright Museum of the American Indian, Santa Fe, NM; the C.M Russell Museum, Great Falls, MT; and Gilcrease Museum, Tulsa, OK. It is in the public collections of the Smithsonian National Museum of the American Indian, Washington DC; Peabody Essex Museum, Salem, MA; Everson Museum of Art, Syracuse, NY; Iroquois Museum, Cobleskill, NY; Longyear Museum at Colgate University, Hamilton, NY; the Institute of American Indian Arts, Santa Fe, NM; the Wheelwright Museum of the American Indian and The Hirshhorn Museum. Hyde lives and works in Northfield, MN. And recently he received artist residencies at; SIMAS Residency in Minneapolis and Crows Shadow Institute of the Arts in Pendleton Oregon. And a mural commissioned by the Northfield YMCA.

Hyde's overarching goal transcends mere aesthetics; he aspires to fundamentally transform the public's perception of Native American artwork. He is a fervent advocate for dismantling entrenched stereotypes that have long shadowed Indigenous artistic expressions. Beyond this, he seeks to empower emerging Native American artists, encouraging them to create authentically and without inhibition. His message is clear and resonant: artists should not be constrained by anxieties about whether their work is "Indian enough" or "Native enough," but rather embrace their individual artistic voices with confidence and freedom.

Images in Order of Appearance: 

1. ME MYSELF AND I (back camera selfie) - 20x20 acrylic on canvas 2023 

2. WE CARRY THE WISDOM OF THE STARS- 24x18 acrylic on canvas 2025 

3. HOW THE WEST WAS WON (GLHF) - 36x36 acrylic on canvas 2025