In January 2024, the United States Department of the Interior revised the Native American Graves Protection and Repatriation Act of 1990 (NAGPRA), prompting a frenzy of federal agencies and museums to cover their displays rather than risk noncompliance with the new rules.1 While some museums sought sheets and cardboard big enough to conceal their displays, Meranda Roberts, a Chicana and citizen of the Yerington Paiute Tribe, curated Continuity: Cahuilla Basket Weavers and their Legacies to increase Native input and collaboration with museums. Her efforts coincided with a rise in national scrutiny around museum practices that lack consent and equitable collaboration with Native partners.2 The guiding question Roberts returned to while crafting Continuity was: “What if the creators of these baskets knew that their descendants would return for them?”3 Her question investigates how collaborative curatorial practices can harness memory and speculative thinking about Indigeneity to achieve tangible reclamations...

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