On Monday, October 11th, 2010 artist James Luna brought his performance art piece “Take a Picture with a Real Indian” to Washington, D.C.’s Union Station. The traffic circle that orbits in front of the station is Columbus Circle, and in its midst stands a grand statue of the world famous explorer. October 11th, 2010 was Columbus Day, a national holiday observed in celebration of Columbus’ “discovery” of America. But on this Columbus day, James Luna appeared adorned in a feather headdress, beaded necklaces, and a red loincloth. He posed in front of the statue, flanked on either side by two life-size likenesses of himself in black and white, like movie star cut-outs you might see at a Cineplex. “Take a picture with a real Indian!” Luna bellowed at his spectators via a microphone, beckoning observers to join him “on one of the saddest days of our history.”

Gregg Deal has a Polaroid picture from that day. In the photo, Gregg stands to Luna’s left, his right arm extended giving bunny ears to the artist. It’s a picture of two American Indians, and two artists, posing in front of a statue of Christopher Columbus, in Columbus Circle, on Columbus Day, in the District of Columbia. An American flag flies wistfully on the left-hand side of the image, perfectly adorning this most American of scenes.

This wasn’t Gregg Deal’s first encounter with James Luna. In 2005, Deal traveled with Luna to the Venice Biennale to assist the artist in his performance piece, “Emendatio.” Gregg Deal readily acknowledges James Luna as his greatest mentor, whose work profoundly informs Deal’s performance art piece, “The Last American Indian on Earth.”

In her book, “Subject to Display,” author Jennifer A. González refers to the concept of “double consciousness” originated by W.E.B. Dubois:

“It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity.”

González is describing a performance by James Luna in 1992 in which he announces that he does not want to be “Indian” anymore. It is at once a refutation of the romanticized image of the Native American as antithesis to the cowboy, or the namesake of some bold new American truck. Even the term “Indian” is a misnomer, a label acquired by way of Columbus’ navigational naiveté.

Luna’s art lampoons the stereotypical archetype of the American Indian, he calls into question the image of the Indian in popular culture simply by performing it, thereby mocking it. By displaying himself in art galleries and in front of popular landmarks he encourages the viewer to join him in his discomfort. The performance becomes a very ironic gesture, but in the process also invites the viewer to join him through simple observation, or by posing with him for photographs.

In similar fashion, Gregg Deal’s “Last American Indian on Earth” is inviting his viewers to examine the absurdity of popular imagery of the Native American. Much like Dubois, Deal is tired of viewing his culture through the lens of others. Though it might seem counter-intuitive, by donning the costume, he is able to directly address the stereotypes and refute them by engaging viewers in dialogue.