Nicholas Galanin’s Seletega: A Monumental Reckoning at Faena Miami Beach
If you’re attending Art Basel Miami Beach, Seletega (run, see if people are coming/corre a ver si viene gente) by Tlingit and Unangax̂ artist Nicholas Galanin is an unmissable experience. On display at Faena Beach until the 8th, this site-specific installation is a stark and provocative critique of colonialism, capitalism, and the systems of power that continue to oppress Indigenous communities.
Partially buried in the sands, Galanin’s work features the masts, sails, and rigging of a Spanish galleon, rising over 40 feet. Its imposing presence evokes the violent legacy of colonial invasion in the Americas, tying it to Hernán Cortés’s infamous scuttling of his ships in 1519—a symbolic act to eliminate the possibility of retreat and force an irreversible path forward.
Spray-painted across the sails in English and Spanish are piercing questions:
“What are we going to give up to burn the sails of empire?”
“What are we going to build for our collective liberation?”
These words are a direct call to action, urging viewers to reflect on what they must dismantle and let go of to envision a freer, more equitable future.
A Legacy of Resistance and Reflection
Galanin’s work confronts audiences with the ongoing impact of colonialism while asserting Indigenous resilience and agency. His practice spans sculpture, installation, performance, and film, often critiquing the spaces his art occupies. Previous works include Shadow on the Land (2020 Biennale of Sydney), a literal grave for colonizer Captain James Cook, and the iconic INDIAN LAND billboard (2021 Desert X) in Cahuilla ancestral territory.
Through Seletega, Galanin does not merely critique; he invites. “The piece is temporary, much like the empires and economies it critiques,” he says, “but building a future rooted in liberation and justice is ongoing. I hope that resonates with the viewers and sparks action beyond the beach.”
The Irony & Urgency
Art Basel, an epicenter of luxury, parties, million dollar bananas and commerce, makes an ironic backdrop for such a work. The installation’s themes of liberation and dismantling power systems juxtapose starkly against the collectors and institutions that often perpetuate those same systems. Galanin himself acknowledges the contradiction but insists on using these platforms to provoke dialogue and reflection.
This is more than art—it’s a challenge. Will visitors walk away inspired to act, or will the questions Galanin raises vanish like footprints in the sand?
So, let its monumental presence and provocative questions leave you reflecting on your role in systems of power—and what you’re willing to let go of to build a better world.
