The paper is white. The ink is black.

The paper is white. The ink is red, black, and brown.

Watercolor of two women sitting on a rug hold pottery. Oqwa Pi (Abel Sanchez) was one of several promising painters who learned the basics for mural painting and watercolor at the Santa Fe Indian School. Moving back to San Ildefonso Pueblo, he led an active life as a religious leader and statesman, holding the Tribal Governor position for six terms. In addition to raising his large family through his farming and fulfilling his extensive community obligations, he maintained a lucrative artistic career, fitting in painting between feast days and using his dining room as a studio. His work features scenes of secular ceremonies and of his community daily life. The San Ildefonso Pueblo walls, unlike many other Pueblos, did not have murals in their kivas. So the influences came from paintings found at Frijoles Canyon where figures were painted on an undecorated ground, often also found on ceramics. Thus the only grounding in this work is the women on top of the rug although the rug appears to be floating. The traditionally dressed figures appear to interact more with the viewer of than with each other. However the accuracy of the clothing, pottery styles and rug designs are accurately depicted.

Museum Expedition 1941, Frank L. Babbott Fund

Vejigante carnival mask of painted paper mache construction. Mask is mainly painted orange, covered in red and gold dots, with cut-out holes at the eyes and mouth. There is an eye-mask like swath of red across the eyes with red and yellow flame-like brow projections above the eye holes. Six long curved horns project out around top and sides, four orange and two red, and each side has red and gold ribbons tied at the side holes with one gold ribbon tied across the inside, for wearing. The snout has a large open mouth full of pointed white teeth with pink gums. Signed and dated inside.

This complimentary pair of drawings depicts horses galloping across the background-facing opposite directions on each drawing, with four women with their backs to the viewer watching the horses. Each woman wears elaborate regalia and carries fans and pouches, the type of decorations used to decorate and honor horses. The details on each of their clothing depict warriors and horses in battle .To paraphrase the artist: The purpose of the drawings, "Horse Nation," is to honor 'tasunka wakan,' the horse, for its importance for the Lakota, Nakota and Dakota Oyate, the People. The horse allowed them to increase their mobility for travel and hunting, expand their territory, advance their 'akicita' (warrior societies that protect them), improve their economy, relieve their burdens and,as Linda indicates "most importantly gave women someone else to love." Linda Haukaas recreates 19th century style ledger art within a modern context with themes that particularly highlight women's roles in Plains society and with ceremonial and daily scenes that resonate today. She researches Museum collections and her own history to authenticate the historical references. Since in the past such representative drawings would have been done solely by the male artist she has broken new boundaries as a female ledger artist.

Two large red and black embroidered appliques adhered to horizontally rectangular paper. The left applique shows a branch with foliage, plum blossoms, and a phoenix about to take flight with wings and tail feathers extended. The right applique has a branch with foliage and plum blossoms along its length, with an especially large and detailed blossom to the far left. A phoenix stands on the branch, wings held close to the body.

Orange vertically rectangular silk panel with embroidery image, adhered to paper. The paper covers the entire back of the panel, and the front edges. Embroidery shows a human figure wearing a long blue robe with pants underneath, and a purple and green scarf at wrists and down legs. The figure also wears an elaborate headdress, and is barefoot. A peacock is behind the figure, with head to the left and tail feathers to the right. The two are surrounded by oval embroidered shapes on top and both sides. Couching in gold wrapped thread; embroidery in green, dark blue, light brown, brown, purple, light blue, gold and yellow.

Five embroidered appliques adhered to long, horizontally rectangular paper. The centre applique is a pearl surrounded by wavy black lines. Below it are two small appliques, oval with a tail piece at bottom. Facing these appliques from the left and right are two large blue and light brown dragons, mouths open, claws extended. Colours are blue, light brown, black, brown, green and dark yellow.