Bockley Gallery and Cara Romero Gallery + Studio are pleased to present Infinite We, an interdisciplinary exhibition bringing together works by Jim Denomie, Leah Mata Fragua, Tom Jones, Matthew Kirk, Kite, Cara Romero, Diego Romero, Mateo Romero, Dyani White Hawk, and Nico Williams. Coinciding with Santa Fe Indian Market, the exhibition takes its name from Dyani White Hawk’s sculpture Infinite We II (2025).
Working across photography, ceramics, painting, sculpture, abstract media, and sound — including a dedicated installation by Kite — each artist carries a singular vision rooted in their own community and lineage. Simultaneously, Infinite We reveals a set of shared preoccupations: how images preserve memory; how materials hold and transmit knowledge; and how our connections to land, community, and one another shape our sense of presence in the world.
What the show refuses to do is flatten those distinctions into consensus. Imagery here is a means of self-definition and empowerment, not documentation. Abstraction operates as structure rather than escape. Ceramics and sculpture extend lineage rather than merely reference it. And through sound and movement — particularly in Kite’s installation — the work exceeds the visual, using the body itself as a site of encounter. What emerges across all of it is not a collective statement but something quieter and more durable: a shared presence, formed through the ongoing acts of encountering, continuing, and making.
Cara Romero Gallery + Studio
333 Montezuma Ave., #5
Santa Fe, NM 87501
Opening-Day Events
August 13, 2026
Reception
4–8 pm

Infinite We II, 2025
Murano glass, copper plated brass
58.5 x 30.5 inches
Photo by Roberta Orio

Ho-Chunk Plant Study #4, 2025
glass beads, fabric, and gesso paint on wood panel, and archival digital photograph
approx. 18 x 41 inches (overall)

Ho-Chunk Plant Study #3, 2025
glass beads, fabric, and acrylic paint on wood panel, and archival digital photograph
approx. 16.25 x 40 inches (overall)

Ho-Chunk Plant Study #5, 2025
glass beads, fabric, and acrylic paint, on wood panel, and archival digital photographs
approx. 19 x 59 inches (overall)

Magic Rabbit III, 2009
oil on canvas panel
21 x 17 inches (framed)

Gardens Back, 2025
Miyuki Japanese glass 11/0 delica beads, polyethylene thermally bonded thread, acrylic yarn, aluminum and maple wood frame
21 x 17.125 inches (framed)
Photo by Paul Litherland

A Keeper, 2013
oil on canvas
24 x 20 inches

Man and Woman with Child Emerging Under
Walleye Moon, 2021
oil on canvas
35 x 49 inches

Title forthcoming, 2026
archival pigment print
48 x 77.5 inches

Coyote Appears at Muhaḍagĭ Doʼag
(Greasy Mountain), 2026
archival pigment print, matte
50 x 40 inches

You And Me Both, Pal., 2026
wood, dowel, leather, dartboard bullseye
26 x 26 x 11 inches
Photo by Paul Terrie

Oh Honey. Oh Sugar., 2025
canvas, spray paint, acid-free paste, matte medium, gaffer’s tape, and upholstery tacks on plywood
42 x 42 inches

Don’t Get Too Lost, 2017
gouache, graphite, pastel, color pencil, ink wash, and conte crayon on paper
30 x 22.5 inches

Both of Us Lonely., 2025
canvas, spray paint, acid-free paste, matte medium, and upholstery tacks on MDF
42 x 66 inches
Photo by Paul Terrie

A Spaciousness of Meaning (Thunder I), 2026
beads, crystals, sequins, dentalium, and thread, on black deer leather and wool fabric
approx. 7 x 7 x 1 inches

A Spaciousness of Meaning (Thunder II), 2026
beads, crystals, sequins, and thread, on black deer leather and wool fabric
approx. 7 x 7 x 1 inches