of the traditional ash splint and sweet grass–has used recycled 16 mm leader and film on sexually transmitted diseases, elegantly subverting multiple stereotypes.” Exhibitions Tremblay has staged many solo exhibitions and participated in numerous group shows. Her notable solo shows include Gail Tremblay: Fiber, Metal, Wood (1988), Museum of the Plains Indian, Browning, Montana; The Empty Fish Trap Installation (2004), Evergreen State College Gallery, Olympia, Washington; Gail Tremblay: Twenty Years of Making (2002), Daybreak Star Cultural Center, Seattle; Reframing Images, Conceptualizing Indigenous Art (2013), Froelick Gallery, Portland, Oregon; and Art of Gail Tremblay (2017), Eastern Washington University Downtown Gallery, Cheney, Washington. Notable works in public collections Basket (c. 1990), Portland Art Museum, Oregon Strawberry and Chocolate (2000), National Museum of the American Indian, Smithsonian Institution, Washington, D.C. In the World of White Line Fever... (2001), Hallie Ford Museum of Art, Salem, Oregon And Then There is the Hollywood Indian Princess (2002), Hallie Ford Museum of Art, Salem, Oregon Waiting for the Return: 5 Fish Traps (2002-2003), Marian Gould Gallagher Law Library, University of Washington School of Law, Seattle (Washington State Arts Commission) A Note to Lewis and Clark's Ghosts (2004), Hallie Ford Museum of Art, Salem, Oregon; and National Museum of the American Indian, Smithsonian Institution, Washington, D.C. The Ghost of Salmon (2004), from Canopy End Structures (with Rick Bartow, Ken Mackintosh, and Lillian Pitt), Rosa Parks Station, TriMet, Portland, Oregon Hunting for the Red Queen on the Big Night Out (2008), Evergreen State College, Olympia, Washington (Washington State Arts Commission) An Iroquois Dreams That the Tribes of the Middle East Will Take the Message of Deganawida to Heart and Make Peace (2009), Whatcom Museum, Bellingham, Washington And Then There's the Business of Fancy Dancing... (2011), Arkansas Museum of Fine Arts, Little Rock In Great Expectations, There is no Red Leader (2011), Portland Art Museum, Oregon It Was Never About Playing Cowboys and Indians (2012), Denver Art Museum When will the Red Leader Overshadow Images of the 19th Century Noble Savage in Hollywood Films that Some Think are Sympathetic to American Indians (2018), Smithsonian American Art Museum, Smithsonian Institution, Washington, D.C. Publications Night Gives Women the Word (Omaha Printing Company, 1979) Close to Home (University of Nebraska, 1981) Indian Singing in 20th Century America (CALYX Books, 1990) Farther From and Too Close to Home (CreateSpace Independent Publishing, 2013) References 1945 births Living people 20th-century American women American installation artists American