ABSTRACT
This book has been about one thing: How wild West shows and the Taos Society of Artists (and other white artists) sold out Indians in the service of an imaginary Wild West (Taggett and Schwartz, 1990). This narrative required the concept of a unified Indian subject who stood outside time and space. In this imaginary space Indians found their place either on reservations, on the stages of Wild West show s as Indians in color (redface) on the canvases produced by white artists, or in Hollywood film. Same Indian, just different spaces.
