Painting the ‘Absent’ In Gitxsan Territory: Pegi Nicol, Skeena Landscapes, and the Indigenised Production of Canadian National Identity in the 1920s chronicles the way in which artists were encouraged to draw upon Indigenous imagery, relegated to a distant romantic past and supposedly on the cusp of disappearing altogether, to produce a 'unique' visual culture for the young Dominion of Canada. This is achieved via a multidisciplinary approach which responds to both art historical and anthropological frameworks.