Following an introduction to Mary Sully’s drawings at the Met last year, this exhibition provides a more expansive view of the artist, offering 24 of her “personality prints” made in the late 1920s. Organized by Jenelle Porter, these abstract portraits of notable figures of the time—including actors, writers and inventors—consist of vertically-arranged triptychs featuring often kaleidoscopic, intricate patterns, suggestive of Indigenous beadwork, quillwork, and weaving as well as visual elements of the time. While Sully’s art has clear similarities to works made by other self-taught artists, it is unique both viewed through the lens of early twentieth-century Indigenous artists and through a broader context.  Taken as a whole, the work raises interesting questions about private language—doubly interesting, because unlike most early abstractionists (Kandinsky, af Klint), that language is in the service of celebrites, who were transmitted to her technologically, rather than through an implied spiritualism. This view of modernity from a Native perspective poses a riddle of why these figures of the era influenced the creation of these works, in addition to the connection of the artist to these individuals, and their relation to each other. —Evan Neely