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While they might not recognize him as such, Durham never attempted to enroll in any of the three federally recognized Cherokee tribes — the Eastern Band of Cherokee Indians, the United Keetoowah Band of Cherokee Indians of Oklahoma, or the Cherokee Nation — and his accusers aren’t even asking him to take any actions regarding his ancestral claims.“He’s an artist and no one wants him censored, no one says he shouldn’t create the art he creates, no one says he doesn’t deserve a retrospective.

, which quoted him talking about being Cherokee and a “Cherokee artist,” Durham wrote a letter to the editor stating: “I am not Cherokee. This is in concurrence with recent US legislation, because I am not enrolled on any reservation or in any American Indian community.” Which seemed to settle things — that is, he wasn’t going to play that bureaucratic identity-politics game — until this summer.In short, I’ve long found Durham to be one of those enigmatic multimedia wizards like Jean-Michel Basquiat or David Hammons, the contemporary art world’s master of mystique (and, not incidentally, most sly commenter on identity.) He’s everywhere — influencing just about everybody — and, then, nowhere to be found.“For all I have gained from the bottomless intellect and insatiable curiosity of the man himself, there is so much I do not know,” Anne Ellegood, the senior curator of the Hammer who organized the ambitious exhibition, writes in the introduction to the substantial monograph accompanying the show. “I consider myself really a part of Europe,” says Durham, who is represented by the blue-chip gallery Kurimanzutto.But an identity-politics firestorm has threatened to overshadow his significant achievement and influence, not to mention making the Whitney, already a bit on edge in the wake of the appropriation controversy surrounding Dana Schutz’s All this dates back to June 26, when a group of ten Cherokee artists, educators, and leaders published a letter to the website of Indian Country Today, just four days after his retrospective opened at the Walker.The group’s letter claimed Durham was “a trickster” who is “falsely claiming to be Cherokee” and went on to state that he “has no Cherokee relatives; he does not live in or spend time in Cherokee communities; he does not participate in dances and does not belong to a ceremonial ground.” In the ensuing weeks and months he was labeled everything from “The Artist Formerly Known As Cherokee” to the “Art World’s Rachel Dolezal,” and the Walker issued the following disclaimer to the webpage and wall credits of their show: While Durham self-identifies as Cherokee, he is not recognized by any of the three Cherokee Nations, which as sovereign nations determine their own citizenship.

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