Contemporary Native arts are rarely included in global arts settings that highlight any number of other disenfranchised artists seeking to gain recognition and a voice in the form of critical exhibition practice or scholarship. This article argues that Native artists can benefit from an increased participation in these broader arts networks, given the resources and opportunities associated with institutions and organizations that give life and reason to the curation and reception of fine arts. Although the author recognizes the technical and logistical inhibitions for a rapprochement between indigenous arts and the places of its circulation (that is, books, exhibits, collections, and the Internet), in this article she focuses her attention on the philosophical and emotional dimensions of audience reception and its impact on the Native arts world, implicating the gaze and problematizing key qualitative values that have largely remained unexplored in our field. Importantly, these values include emotional and imaginative saliences that may simultaneously attract and hold at bay the mutual exchanges implicated in the gaze. Her analysis highlights lens-based artistic practice, the power of biography, and the curatorial strategies of embodiment, including the senses, possession, and emotional connections. The iconic placeholder of "the blood" as an organizing principle is identified as a productive means of articulating the interior renderings of an indigenous aesthetic and recognizing the essential saliences of communal place-based logics and current political realities. (Contains 3 figures and 34 notes.)