Engaging with the interdisciplinary artistic practices of Dayna Danger, Thirza Cuthand and Bannock Babes, this paper discusses the importance of desire within Two-Spirit and queer Indigenous visual culture with ancestral ties to the Canadian Prairies. These artworks strive to reclaim Two-Spirit representation as a means to engage with prospering queer Indigenous furturity. In conjunction with these artists, using the curatorial and critical practices of David Garneau, Cathy Mattes, Michelle McGeough, and BUSH Gallery guides this research to link Two-Spirit curatorial methodologies. Given the lack of critical and curatorial methodologies that tend specifically to Two-Spirit ontologies, this paper acknowledges the fluidity of Two-Spirit identities in relation to land and locality, and therefore, is a summary of these research findings within my scope. Using Eve Tuck’s desire-based research frameworks, Gerald Vizenor’s concept of native survivance and Leanne Betasamosake Simpson’s knowledge of Biskaabiiyaang, they provide insight on navigating ideas around Two-Spirit and queer Indigenous visual culture and curatorial methodologies. These artist and curatorial practices demonstrate certain commonalities: the importance of cultural and spiritual safety, kinship ties and relationships to the land.