By Researcher and Curator Catalina Alvarado Cañuta.
An Art Exhibit at The Wadsworth Atheneum Museum in Hartford public opening on Thursday, May 7, 2026.

Weaving Images of Healing: Caring for the Ancestors of the Future is an exhibition proposal that forms part of the doctoral thesis process of Mapuche academic Catalina Alvarado-Cañuta. Catalina is a Fulbright scholar and PhD candidate in Anthropology at the University of Connecticut. Her research falls within the field of medical anthropology, where she studies the processes of healing colonial traumas and wounds, and indigenous art as a methodology for research and healing.
The purpose of this exhibition is to offer a visual complement to the written work of the thesis, as images have a communicative power that academic writing does not always manage to convey. At the same time, the exhibition is an alternative way of disseminating the results of the research, allowing the knowledge generated to transcend the format of the scientific article in English and reach wider and more diverse audiences.
The exhibition will be held at the Wadsworth Atheneum Museum in Hartford. This collaboration stems from the previous experience Ancestors Today (2024), which was carried out as part of the Collective Healings initiative, led by Professor César Abadía-Barrero. For this exhibition, the museum showed its willingness to work with indigenous communities and opened its spaces to this type of dialogue.
This project is based on the premise that the collective healing of colonial wounds is a non-linear and multifactorial process involving tangible and intangible dimensions, such as creation, spirituality, rituals, territories, non-human beings, art, intuitions, and intentionality. The articulation of these elements as part of a process constitutes a community response to historical violence and the marks of colonialism that continue to affect indigenous communities to this day.
The exhibit curated by Alvarado-Cañuta, brings together two internationally renowned Mapuche artists, Loreto Millalén and Francisco Huichaqueo; Amabilia Escalante Ortiz, a
young Guatemalan weaver with Maya ancestry living in Hartford, and Jeff Cán Xicay, Maya Kaqchikel weaver from Patzicía, Guatemala. The exhibition includes: a chañuntuko, a traditional Mapuche textile piece made especially for this occasion by master weaver Loreto Millalén. Millalén defines the chañuntuko as a portable territory—a textile used for horseback riding, traveling, sitting and resting, chatting, and sharing. This piece in this exhibition also represents the fire, a vital element that brings people together.
A section of projections of different bodies of water recorded in ancestral territories in Chile, Guatemala, and the United States, along with archival images by Mapuche artist and filmmaker Francisco Huichaqueo. Water is essential because without it, there is no life. Textiles created for the “memory garments” (commonly known as archaeological objects) from the museum’s collection—items once used by the indigenous peoples of the Americas—crafted by Amabilia Escalante as a symbol of care and affection for the people who once held these objects. The memory garments are rescued from the darkness of the storage room to coexist with the other works and are wrapped in colorful
fabrics that bring them back to life. A collective piece “Hilos de los Rezos” made with threads that represent the transit of people in multiple dimensions from minche mapu (underworld) to wenu mapu (space above) made by Catalina Alvarado-Canuta, Francisco Huichaqueo, Loreto Millalén, and Pablo Millalén. Jeff Cay’s work Ojer Winäq (ancestral people in Kaqchikel language) is a textile piece created on a backstrap loom; it consists of a white fabric interwoven with reeds that serve as an internal structure, evoking a skeletal system that supports the body of the textile. At its center is a sequence of winäq (human figures), derived from the motifs of the Patzicía güipil,which represent the ancestors: grandfathers and grandmothers who are part of the community’s long history. In this sense, the piece is conceived as a spatial device that functions simultaneously as an altar and as a living presence. The fabric, suspended from above, descends like a white mist. This gesture refers to the community’s stories, where grandfathers and grandmothers manifest as mist, smoke, or incense: subtle forms of presence that inhabit and traverse the space. And finally, an ethnographic embroidery made by Catalina, who incorporated part of her fieldwork and personal experience into the work. This piece is still in progress and is signed with a needle with a red thread, the blood of Mapuche people, those who continue
to write their history. This embroidery chooses to live with the projections of water, where it creates the shadows of the threads as another being. The exhibition has the presence ofthe kollon, a Mapuche ritual mask which represents protection and joy. The whole exhibition is accompanied by a Mapuche dance projected on the rocks. And finally, an ethnographic embroidery made by Catalina, who incorporated part of her fieldwork and personal experience into the work. This piece is still in progress and is signed with a needle with a red thread, the blood of Mapuche people, those who continue to write their history. This embroidery chooses to live with the projections of water, where it creates the shadows of the threads as another beings. The exhibition has the presence of the kollon, a Mapuche ritual mask which represents protection and joy. The whole exhibition is accompanied by a Mapuche dance projected on the rocks.
Conceived from a Mapuche indigenous perspective, Weaving Images of Healing is an exhibition that brings together the collective strength of indigenous creators from Abyayala (ancestral name for Latin America) who have come together to heal, to collectively alleviate the wounds caused by colonialism. Their creations embody the persistence of the ancestral memories of their respective peoples through different materials and languages such as textiles, ceramics, film, and embroidery.
In the context of indigenous relational ontologies, these creations are considered living beings. Each one has a spirit that establishes links with the multiple forms of life that inhabit the territories. These works were created and intended to be shared in the exhibition, to accompany each other, to care for each other collectively, to come together in a great family reunion of ancient lineages that existed before colonial invasions and the borders of nation-states. This exhibition, which brings together different indigenous peoples of the Americas, has been designed to welcome all the lives that visit it.
The creators, their creations, and the histories of their peoples are part of a textile that is constantly being woven. Their presence is a way of building community in the face of dispossession, of supporting one another, and of cultivating the existence of indigenous spirits. In other words, it is a way of affirming what colonialism has tried to erase through various forms of violence, but which today is manifesting itself with force to collectively resurface.
This exhibition and the gathering of creations remind us that healing is not forgetting. It is remembering with awareness, it is mending to create a strong textile that reinforces the continuity of indigenous life, to sustain and care for the ancestors of the future.
This exhibition is much more than just academic work. It is about sowing seeds. It is about building community. It is about spreading awareness, educating, and raising consciousness. The ancestors of the future -us, our children, our grandchildren, and the communities yet to be born- will inherit what we can build today. This proposal constitutes a decolonial action that simultaneously intervenes in the curatorial, artistic, museum, and health fields, offering a shift from the Western conception of art as an object of passive contemplation to a practice that activates healing, reconnection with ancestral memory, and collective projection toward the future.
Curator-Researcher: Catalina Alvarado-Cañuta
Artists:
Loreto Millalén, Mapuche, Master Weaver
Francisco Huichaqueo, Mapuche, Artist and Filmmaker
Jeff Cán Xicay, Weaver, Maya Kaqchikel, Patzicía
Amabilia Escalante Ortiz, Guatemala, Weaver
Catalina Alvarado-Cañuta, Mapuche, Academic and Embroiderer
Special thanks to: César Abadía-Barrero, Camilo Ruiz, Pablo Millalén.
To the various units at the University of Connecticut:
Department of Anthropology
Humanities Institute
Gladstein Family Human Rights Institute
Global Affairs
El Instituto, Institute of Latino/a, Caribbean, and Latin American Studies
College of Liberal Arts and Sciences
Global Health & Human Rights Research Program