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            <text>Nixon, L. (2020, November 21). Indigenous art is so camp. &lt;em&gt;Canadian Art&lt;/em&gt;. Accessed Dec 1 2022. &lt;br /&gt;&lt;a href="https://canadianart.ca/features/indigenous-art-is-so-camp/" target="_blank" rel="noreferrer noopener"&gt;https://canadianart.ca/features/indigenous-art-is-so-camp/&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Nixon, L. (2018) Toward a relational historicization of Indigenous art. &lt;i&gt;Art Journal, 77&lt;/i&gt;(4), 127–128. &lt;br /&gt;&lt;a href="https://doi.org/10.1080/00043249.2018.1549883" target="_blank" rel="noreferrer noopener"&gt;https://doi.org/10.1080/00043249.2018.1549883&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Nixon, L. (2018). “I wonder where they went”: Post-reality multiplicities and counter-resurgent narratives in Thirza Cuthand’s Lessons in Baby Dyke Theory. &lt;i&gt;Canadian Theatre Review&lt;/i&gt;, &lt;em&gt;175&lt;/em&gt;, 47–51. &lt;br /&gt;&lt;a href="https://doi.org/10.3138/ctr.175.009" target="_blank" rel="noreferrer noopener"&gt;https://doi.org/10.3138/ctr.175.009&lt;/a&gt;</text>
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            <text>Hopkins, C. Loft, A., Nixon, L., &amp;amp; Shomoon, I. (20\19, August 22). A new kind of land acknowledgement. &lt;i&gt;Canadian A&lt;/i&gt;&lt;i&gt;rt&lt;/i&gt;. Accessed Dec 1 2022.  &lt;br /&gt;&lt;a href="https://canadianart.ca/features/a-new-kind-of-land-acknowledgement/" target="_blank" rel="noreferrer noopener"&gt;https://canadianart.ca/features/a-new-kind-of-land-acknowledgement/&lt;/a&gt;</text>
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            <text>Longman, N., Riddle, E., &amp;amp; Nixon, L. The Red Nation. (2020, December 1). &lt;i&gt;Land back with Nickita Longman, Emily Riddle, &amp;amp; Lindsay Nixon.&lt;/i&gt; YouTube. Accessed Dec 1 2022.&lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.youtube.com/watch?v=s4idr4cRA98" target="_blank" rel="noreferrer noopener"&gt;https://www.youtube.com/watch?v=s4idr4cRA98&lt;/a&gt;</text>
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