Candice Hopkins is a citizen of Carcross/Tagish First Nation and lives in the Mahicannituck Valley, New York. Her writing and curatorial practice explore the intersections of history, contemporary art, and Indigeneity. She is Executive Director & Chief Curator of Forge Project, Taghkanic, New York, and Fellow in Indigenous Art History and Curatorial Studies, Bard College. She is curator of the recent exhibitions Replica of a Chip: The Weaving Technology of Marilou Schultz, Indian Theater: Native Performance, Art, and Self-Determination Since 1969, (both originating at the Hessel Museum of Art), Soundings: An Exhibition in Five Parts, co-curated with Dylan Robinson, and ᑕᑯᒃᓴᐅᔪᒻᒪᕆᒃ Double Vision, featuring textiles, prints and drawings by Jessie Oonark, Janet Kigusiuq, and Victoria Mamnguqsualuk. She was the Senior Curator for the inaugural 2019 and 2022 editions of the Toronto Biennial of Art and part of the curatorial team for the Canadian Pavilion at the 58th Venice Biennale, featuring the work of the media collective Isuma; as well as on the curatorial teams of documenta 14, Athens and Kassel; and Sakahàn: International Indigenous Art, National Gallery of Canada, Ottawa. Her edited books include Native Visual Sovereignty: A Reader on Art and Performance and with Dr. Dylan Robinson, Listenings, a book on sound and Indigenous art. Her notable essays include “The Gilded Gaze: Wealth and Economies on the Colonial Frontier,” in the documenta 14 Reader; “Outlawed Social Life,” in South as a State of Mind; and “The Appropriation Debates (or The Gallows of History),” in Saturation: Race, Art, and the Circulation of Value (New Museum/MIT Press, 2020).