Native American." Her work uses photography as a means to re-appropriate the Native American as subject. Although she is a photographer, Tsinhnahjinnie often hand-tints her photographs or uses them in collage. She has also used unusual supports for her work, such as car hoods. She shoots her own original photographs, but also frequently retools historical photographs of Native Americans to comment upon the ethnographic gaze of nineteenth-century white photographers. Tsinhnahjinnie also works in film and video. Using a combination of photography and digital images with a contemporary Native American photography style, she overcomes stereotypes, challenges political ideas, and creates a space for other Natives to express their ideas as well. Her goal with her art is not aimed at the non-natives but instead it is to document her life experience and share it with the world. In a statement on “America Is a Stolen Land”, Tsinhnahjinnie says, “.. the photographs I take are not for White people to look at Native people. I take photographs so Native people can look at Native people. I make photographs for Native people”. The Damn Series which she wrote in 1977 is Tsinhnahjinnie's most widely known piece. Throughout the piece she works in Native knowledge (including humorous jokes) to repurpose images of Natives from colonialist history by shifting them back into a rightfully Indigenous context. 20 years later, in 1994, Tsinhnahjinnie created a series called “Memoirs of an Aboriginal Savant”. She uses fifteen pages of an electronic diary to reflect on life with her family, politics, and other life experiences. The diary is all written with the idea in mind that she will take the viewer on a “journey to the center of an aboriginal mind without the fear of being confronted by the aboriginal herself”. The book begins on the page “1954” (her birth year) and continues to look deeply into her personal life experiences. Through the book she writes herself from a first person point of view in order to convey herself how she sees herself instead of others views. In many of her key works from the 1990s, Tsinhnahjinnie examined the notion of beauty. Her interest in this subject should be viewed in the context of the “return to beauty” that established itself in art historical discourse in the same period At the time, critics were addressing the taboos which had developed around beauty in Western art over the 20th century