Jade Guanaro Kuriki-Olivo, known by the pseudonym Puppies Puppies, is revolutionizing trans and Indigenous visibility through her critically-acclaimed conceptual works of sculpture and performance art. Despite a very genuine and personal embodiment within the work, an air of mystery once shrouded her identity as she initially insisted on a level of anonymity rarely exhibited by artists, particularly of her generation. In late 2017, however, this shifted with the very first reference to the artist’s gender transition taking place in her Green (Ghosts) installation at Overduin & Co. in Los Angeles. Kuriki-Olivo and her then-boyfriend lived in the gallery during the hours it was closed, leaving only traces of their existence during the hours it was open. Here, she taped two estrogen pills to the wall, pointing toward her gender-affirming course of hormone therapy—a subtle gesture that gently opened the door of visibility. Employing the mundane, everyday objects that surround her life is a hallmark of Puppies Puppies’ practice and readymades are one of her favorite ways to reference the art historical canon. An initial easter egg of visibility has since swung the door open to a state of consensual voyeurism in Nothing New, her current solo exhibition at the New Museum where the artist is occupying the Lobby Gallery with nearly constant access to her comings and goings via video surveillance, live stream access, and glass walls overlooking a recreation of her bedroom. Puppies Puppies also points to elements of her multi-ethnic indigeneity—Taíno on her father’s side and Japanese on her mother’s—with the inclusion of objects and spiritual practices that connect her disparate lineages in a form of what the exhibition’s curator, Vivian Crockett, refers to as a memoryscape. Crockett got cozy in bed for her interview of Puppies Puppies on the eve of the exhibition’s inauguration to discuss their creative collaboration. Read more.