‘It was really me trying to convince people that there are still Native artists,’ the executive director of arts initiative Forge Project recalled of her time as a student at the Center for Curatorial Studies (CCS) at Bard College, in Upstate New York. Two decades later the greater awareness of Indigenous production is partly her win, through her work designing Forge Project’s programme, in a setting located on the ancestral homelands of the Moh-He-Con-Nuck, some 20km from Bard. This year she returned to her alma mater, too, where she is employed in the newly established role of Fellow in Indigenous Art History and Curatorial Studies. Bard College and Forge Project have announced a partnership to support more Indigenous faculty, for recruitment and scholarships for Native students, and to expand relevant library and archival material, funded by gifts from the Gochman Family Foundation and George Soros and the Open Society Foundations. In June Hopkins curated a show of contemporary art by Native American, First Nations, Métis, Inuit and Alaska Native artists at Bard’s Hessel Museum, with loaned works and others drawn from Forge Project’s 150-strong collection.