It has taken a century for the art world to realize its mistake, but contemporary Indigenous art is now having a moment. Major museums are mounting exhibitions of recent Aboriginal art from Australia and Native art from the Americas. In the imposing nine-pound book Toi Te Mana: An Indigenous History of Māori Art, the art historian Ngarino Ellis writes enthusiastically of a new “global Indigenous art world.” Its advent was clear at the 2024 Venice Biennale, which featured Māori artists from New Zealand, Kaqchikel artists from Guatemala, and Nonuya artists from Colombia. The Australian pavilion’s award-winning installation interwove personal genealogy with 65,000 years of Aboriginal history. The Brazilian pavilion was renamed the Hãhãwpuá pavilion by Tupinambá artists, and the Danish pavilion was relabeled Kalaallit Nunaat (the Greenlandic name for Greenland) by the photographer Inuuteq Storch. The U.S. pavilion kept its name, but its mini-Monticello exterior was swathed from pavement to cornice in the eye-popping geometries of the Choctaw/Cherokee artist Jeffrey Gibson, the first Native American to fill the building with a solo exhibition.