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New research on a set of drawings known as “Four Horns copies of Sitting Bull’s drawings” reveals that both the name and ethnic identity of the artist are unsupported. Those identifications derive from research and records of an earlier era built upon Western understanding of cultural materials. Rather than seeking to provide definitive new answers to these questions, this paper explores other aspects of the drawings that are now better aligned with anthropological and ethnohistorical interest, seeking to recover the context of production and circulation and what the drawings may have meant to Native people.
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