“There is no trust for museums in Native communities, because they came and stole out of our graves for this stuff,” Ms. Greeves said. “Or they came to us in our downest, worst times and bought our family heirlooms that we desperately sold.”

Earlier this year, an exhibition of Mimbres pottery planned for the Art Institute of Chicago was put on hold indefinitely amid concerns that the organizers had failed to seek out Native voices and perspectives in the creation of the show.

Ms. Yohe tapped a network of archaeologists and scholars to determine whether there were Mimbres pots that were used in a non-funerary context. Those inquiries unearthed a pot used in a domestic setting in Utah circa 1000; painted with a fine abstract pattern, it will appear in the show.

But when she wanted to include a quill-decorated shirt made by a Cheyenne woman in the 1800s, “one of the most beautiful works I have ever seen in my life,” she said, “Teri told me: you shouldn’t be showing that shirt because it was a warrior shirt,” covered in potent medicine. That sent the curator to the Cheyenne homelands in Oklahoma to seek their opinion. They ultimately declined to let her exhibit the shirt but offered her a beaded pipe bag made by the Cheyenne/Kiowa artist Heather Levi for the MIA.

Minneapolis has been at the center of a recent controversy surrounding the representation of Native histories and cultural heritage in museums. In 2017, the artist Sam Durant’s “Scaffold” went on view in the Minneapolis Sculpture Garden of the Walker Art Center, approximating the form of a gallows where 38 Dakota people were massacred on the order of President Lincoln in 1862. (Durant is non-Native.) The work was ultimately removed; its intellectual property was transferred to the Dakota, and it was buried in a secret location.