Silkscreen print on square white paper. Circular white spindle whorl design with a square teal background. Layers of white ovals, teal trigons, red trigons and crescents, and grey crescents. Print 46/50 in series.

Silkscreen print of two herons with heads held back, surrounded by salmon in various shades of grey with some neon green, yellow, peach, red, black and green accents on a white background. The herons are somewhat mirrored across the vertical line. Inscription written in pencil along the bottom of the print.. Print 05/100 in series.

Silkscreen print with white background and black design. The central design is created using various thicknesses of horizontal lines. The design is a square with a circle inside and an even small circle within. The circles depict a spindle whorl with five salmon within, three facing right, and two facing left. Print 05/58 in series.

Silkscreen print. Circular spindle whorl design. Motif of a human face with mythical creatures in proportionate scale. At top, are two large eyes, which break-through the circular spindle whorl form, flanking a human face with the centre of spindle whorl marked by the human's open mouth. The thunderbird's feathers shown using trigons, crescents and u-forms. Print 06/75 in Thunderbird series.

Silkscreen print of a heron standing with head down, surrounded by salmon revealing the contours. The salmon are various shades of blue, with pink, green and grey accents. The background is a light sky blue, which blends into a light grey-blue at the bottom. Inscription written in pencil along the bottom of the print.. Print 06/100 in series.

A contemporary Tlingit-style wooden halibut hook carved by Leslie Isaacs (Native name: Tsaandaay/Ts'aang Gaay), a Haida craftsman, in Craig, Prince of Wales Alaska in March 2013 and commissioned by Jonathan Malindine for educational purposes. It is an example of the kinds of hooks that were produced and used by both Tlingit and Haida peoples of Southeast Alaska. The name of the artifact in the local language is náxw (Lingít [Tlingit]), or ýagw táawaay (Xaad kil [Haida]). Such hooks were used by the people of the Northwest Coast to catch large halibut. Bait was tied at the intersection of the two wooden elements. Fished just off the ocean floor, a biting halibut will become hooked when the barb is embedded into its head. This hook has been carved from red cedar and yellow cedar and has a deer bone spike (Sitka black-tailed deer, Odocoileus hemionus sitkensis). Jonathan Malindine comments that hooks such as this one are now only rarely used for fishing. Their "function now is primarlly decorative, while production is an act of connection to cultural heritage." He notes that usually the upper element (i.e. non-barbed, wooden section) is carved with various motifs and figures. This object represents a standard, perhaps utilitarian, exammple of a traditional Northwest Coast halibut hook. The fish hook was sent to SI wrapped in a tan soft leather which is included in storage with the object, but may not have any cultural significance.

Wooden panel covered in plaster or gesso and painted. Tabla shows people in local traditional dress being burned alive in a bonfire. State police in camouflage are also shown in the scene. The text states that the painting shows the extrajudicial execution of supposed ‘Shining Path’ insurgents. Among the executed are numerous innocent local Ayacuchans.

Wooden panel covered in plaster or gesso and painted. The tabla shows the Peruvian State forces confronting ‘Shining Path’ guerrilla insurgents in the high plains of Ayacucho. The image shows men in Sinchi uniform as well as people in local traditional dress. A low flying helicopter painted with state camouflage is firing on everyone. The image is of destruction and bloody death. However, it also contains images of the local landscape that show continuity in painting style from the house beams (3289/60-61); a dog steals a piece of meat from the fire, chickens roam the hillside. This is the culmination of the armed conflict and shows the confusion involved in the identities of attackers and victims.

Painted house beam. Slice of a tree trunk, covered in plaster on the front, with the bark left on the back. The part that has been plastered is painted with natural pigments. The beam would be read bottom to top. At the bottom is one of the patron saints; the Virgin of Asuncion. In phrases divided by various patterns, such as flowers and llamas, the beam depicts a range of daily activities such as sowing seeds and weaving. The persons represented are named in writing. At the top of this beam is the sun.

Wooden panel covered in plaster or gesso and painted. Tabla shows the assassination of community authorities by ‘Shining Path’ insurgents. The men with rifles are wearing balaclavas. This episode in the series evidences the reaction of the Maoist group to the destruction of the local community centre by State military. This act constituted a counter-threat.