Galanin entered 2025 with the Crystal Bridges Museum of American Art’s $200,000 Don Tyson Prize in tow and kept up the momentum, opening a solo exhibition, Aáni yéi xat duwasáakw (I am called Land), at MassArt Art Museum, Boston, and completing a monumental bronze sculpture for the inaugural Boston Public Art Triennial in May. In September the Lingít-Unangaxˆ interdisciplinary artist, whose work interrogates colonialism and land ownership, made a statement against censorship by pulling out of a symposium at the Smithsonian that had, in his words, attempted to ‘silence and erase any content not approved of by the current administration’. The event had been organised in conjunction with The Shape of Power: Stories of Race and American Sculpture (2024–25), an exhibition singled out by a federal executive order targeting so-called divisive ideology at the Smithsonian that includes a wall-based installation by Galanin. The artist’s strategic withdrawal echoes the stand he took in 2019, when he was one of the first artists to pull work from the Whitney’s ‘Tear Gas Biennial’.