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Fritz Scholder, Massacre at Wounded Knee II, 1970

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Fritz Scholder once remarked that “the essence of paint is color” and that “color is very personal.” The evocative juxtaposition of deep reds and stark white in this painting alludes to the tragic history of the Wounded Knee Massacre of 1890, when United States Army troops, responding to perceived Indigenous resistance in South Dakota, killed nearly three hundred Lakota people. Scholder, an enrolled member of the Luiseño tribe, worked from photographic documentation of the event but does not offer a literal representation of it. Rather, his vigorous brushstrokes and abstract composition convey a visceral sense of the violence—a landscape haunted by trauma based in the enduring legacy of colonial oppression against Indigenous people in America.

Fritz Scholder, Massacre at Wounded Knee II, 1970

A wooden bench sits in front of several framed paintings displayed on white gallery walls.
A wooden bench sits in front of several framed paintings displayed on white gallery walls.

Installation view of “Untitled” (America) (Whitney Museum of American Art, New York, July 5, 2025-). From left to right: Fritz Scholder, Massacre at Wounded Knee II, 1970; Jacob Lawrence, Shipping Out, 1947; Jacob Lawrence, Docking––Cigarette, Joe?, 1947; Jacob Lawrence, Beachhead, 1947; Jacob Lawrence, The Letter, 1946; Jacob Lawrence, How Long?, 1947; Jacob Lawrence, On Leave, 1947; Jacob Lawrence, Victory, 1947. Photograph by Ron Amstutz

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