Abstract
This essay questions how Bill Reid engaged with various discourses related to First Nations cultural production and examines the significance and reception of his work and career within those discourses. Through historical contextualization and the use of textual sources, the essay considers the tension between agency and discursive frame on the meaning of both the artistic work and identity of Bill Reid. The essay concludes that Reid’s various roles (artist, activist, curator, and cultural commentator) uniquely allowed him not only to participate in dominant discourses about First Nations cultural production, but shape his and his work’s position within that discourse.
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