Postcommodity is an interdisciplinary art collective comprised of Cristóbal Martínez (Genizaro, Manito, Xicano), and Kade L. Twist (Cherokee). Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multi-ethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public sphere. Postcommodity are the recipients of grants from the Joan Mitchell Foundation (2010), Creative Capital (2012), Art Matters (2013), Native Arts and Cultures Foundation (2014), Mid Atlantic Arts Foundation (2017), Ford Foundation Art of Change Fellowship (2017-2018), Harker Fund of the San Francisco Foundation (2018-2019), Native Arts and Cultures Foundation Shift Award (2021), Hewlett 50 Arts Commissions (2022), and the Latinx Artist Fellowship (2023-2024). The collective has been exhibited nationally and internationally, including: Contour the 5th Biennial of the Moving Image, Mechelen, BE; Nuit Blanche, Toronto, CAN; Adelaide International 2012, Adeliade, AUS; 18th Biennale of Sydney, Sydney, AUS; Scottsdale Museum of Contemporary Art, Scottsdale, AZ; 2017 Whitney Biennial, New York, NY; Art in General, New York, NY; documenta14, Athens, GR and Kassel, DE; the 57th Carnegie International in Pittsburgh, PA; Desert X, Coachella Valley, CA; Art Institute of Chicago, Chicago, IL; LAXART, Los Angeles, CA; Minneapolis Institute of Art, Minneapolis, MN; Remai Modern Museum, Saskatoon, CAN; and their historic land art installation Repellent Fence at the U.S./Mexico border near Douglas, AZ and Agua Prieta, SON. The collective was awarded the Fine Prize for From Smoke and Tangled Waters, They Carried Fire Home, commissioned for the 57th ed. Carnegie International. Postcommodity acknowledges the important contributions of its previous collaborators: Raven Chacon (2009-2018), Steven Yazzie (2007-2010), Nathan Young (2007-2015), Adam Ingram-Goble (Game Remains), Andrew McCord (If History Moves at the Speed of Its Weapons, Then the Shape of the Arrow is Changing, and Promoting a More Just, Verdant and Harmonious Resolution), Annabel Wong (Dead River) and Existence AD (Dead River). Postcommodity is represented by Bockley Gallery, Minneapolis, MN.

Jason Edward Lewis is a digital media theorist, poet, and software designer. He founded Obx Laboratory for Experimental Media, where he conducts research/creation projects exploring computation as a creative and cultural material. Lewis is deeply committed to developing intriguing new forms of expression by working on conceptual, critical, creative and technical levels simultaneously. He is the University Research Chair in Computational Media and the Indigenous Future Imaginary as well Professor of Computation Arts at Concordia University. Lewis was born and raised in northern California, and currently lives in Montreal. Lewis directs the Initiative for Indigenous Futures, and co-directs the Indigenous Futures Research Centre, the Indigenous Protocol and AI Workshops, the Aboriginal Territories in Cyberspace research network, and the Skins Workshops on Aboriginal Storytelling and Video Game Design.