This thesis undertakes an interpretation of two exhibitions of Aboriginal art, Writing Home and RESERVE(d), both of which took place at Urban Shaman Gallery: Contemporary Aboriginal Art in Winnipeg during 2010. Writing Home, curated by Faye Heavyshield, is a solo exhibition of Bonnie Devine’s visual representations depicting conversations between people and place at Serpent River First Nation. I argue that Devine's works position the reserve as a place that is animated by personal narratives and inscribed by history and memory in the land. RESERVE(d) is a collaborative exhibition by Kevin Lee Burton and Caroline Monnet. Through the installation of large format photography, sculptural works on Plexiglas, video projections, and ambient audio, RESERVE(d) re-creates a physical place—the reserve—in the context of another physical place—the gallery. I argue that Burton and Monet's installation serves to collapse linear and cartographic conceptions of time and location into speculative sites for imagining the mechanisms of generational and place-based Indigenous knowledge.