📣🚨 Important community update! Tohono O’odham Nation leadership has been informed that federal contractors may attempt to enter the Nation’s lands this weekend to begin conducting work related to border wall construction.

Please be aware that "no trespassing" signs have been posted in several locations on the Nation. Tohono O’odham law enforcement is on alert to turn back trespassers.

All O’odham are free to travel as usual. The restrictions are only for non-tribal members who are attempting to destroy our land and separate our people with the construction of the wall.

Please help us spread the word by sharing this information.

#NoWall

T-wem' o ba'ic e s-ge:wpk 🪶

Together we are stronger. 💪🏼

Edit: if you care to actually learn about what tribal sovereignty means in the US laws, and how it's been applied, this is a great podcast: https://crooked.com/podcast-series/this-land/

Tohono O'odham members are focused on protecting a very important cultural and econological site, Quitobaquito. Some folks in the comments asked about going to help to protect it against border patrol, and there was a great response about heading to Lochiel instead where border patrol and construction companies are actively tearing down a ton of old growth trees, and there's been calls for others to come help.

OPENS AUGUST 15

Look at me and see what?

Annotating the absence of trans life in prison

This exhibition brings together a set of artwork, writing, poetry, reflections, and acts of survival created by incarcerated people, with particular attention to queer and trans experiences inside prisons.

The works submitted refuse the flattening narratives often imposed on incarcerated people. They move between grief, humor and rage, tenderness and censorship. Poetry, montage, fantasy, memory, and dreams become methods of survival against institutions designed to regulate visibility, gender, intimacy, and self-expression.

This exhibition also confronts the realities of censorship within prisons: the policing of language, identity, gender, sexuality, images, correspondence, and expression itself. It highlights the limitations of what can be said and shared — an archive of an absent present and traces of otherwise. It invites viewers not to consume suffering or reiterate annihilation, but to encounter the heaviness of silence and traces of presence despite this annihilation.

https://survey.gendercensus.com/