ABSTRACT
Art museums are vital to a nation's cultural fabric and conduits of knowledge and inspiration. Consciously or not, they also play a gatekeeping role, determining what should or should not be considered a part of the national cultural identity. The Nordnorsk Kunstmuseum (NNKM) opened in 1988 primarily focused on Norwegian art and community, with Sámi presence notably absent. In 2017, however, it transformed overnight into the Sámi Dáiddamuseax (SDMX) presenting There Is No, highlighting Sámi creativity. The performative exhibit took a political stance, pointing to the underrepresentation of the Sámi in national cultural institutions, and provoked questions regarding the ongoing lack of a Sámi art museum. The SDMX acted as a turning point for the NNKM, marking its first steps towards decolonization, deinstitutionalization, and Indigenization. Through a critical museology and cultural analysis lens grounded in Indigenous methodologies, this chapter examines the SDMX – its development, presentation, and ripple effects – to examining the NNKM's reflections on its own position and responsibility towards both Sápmi and Norway as it strove to become a better ally to the Sámi and an improved institution overall.
