A new two-part exhibition in Bozeman, Montana, is examining the life and legacy of Edmonia Lewis, the celebrated Black and Indigenous sculptor, through the lens of her connection to the area. Chisel & Razor: The Artistic Legacies of Edmonia and Samuel Lewis is on view at the nonprofit space Tinworks Art through April 2027, with its second act — devoted to Edmonia — opening on 11 October. It forms part of a citywide homage to the artist, organised alongside a separate presentation of her original sculptures at Bozeman's Museum of the Rockies. The exhibition pairs the expatriate sculptor, who built her career in Rome, with her brother Samuel Lewis, a Bozeman businessman and performer who acted as her benefactor. The first instalment centred on Samuel; the second turns to Edmonia. Rather than showing her own works, curator Melissa Ragain has assembled contemporary artists to reckon with her life and influence. The second act brings together Sanford Biggers, Andrea Carlson, Kelly Church and Athena LaTocha, alongside a new commission by Auriea Harvey — like Lewis, a Black Catholic expatriate artist working in Rome — whose Edmonia Triumphalis (2026) imagines a speculative visit by Edmonia to Bozeman, fusing an arch of local earth with a fountain shaped by the classical flourishes that influenced Lewis. 'I think as historians, we spend so much time asking ourselves how someone as prominent as Edmonia Lewis could be overlooked,' Ragain said, 'but there are generations of artists who have been looking closely at her since the 1860s.' The first act drew on artists including Terry Adkins, Sonya Clark, Maud Sulter and Nate Young. By filtering Lewis's story through contemporary practice, the show argues for her continuing presence in the present: a 19th-century sculptor whose negotiation of race, faith and exile still speaks to artists working today.