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Kay WalkingStick’s paintings and drawings refuse a modern conception of difference anchored in racial biology, which has framed debates about modernist primitivism since the nineteenth century. Her encounters with worldly Renaissance collections prompt consideration of similitude as an alternative relational model. For roughly the first century of conquest, Europeans enveloped Native Americans, plants, and animals into a global family of resemblances, rather than positing their essential differences. Indigenous artists likewise bent likeness to the ends of survival. In sketchbooks made during repeated trips to Rome between 1999 and 2012, WalkingStick drew classical fauns, Christ’s transfiguration, and Aztec codices from Italian...

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