A Space for Dialogue 88, Still We Rise, Women of Color Existence / Resistance in Contemporary Art, Taylor Payer, Class of 2015, Kathryn Conroy Intern, Main Lobby, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, May 30 -July 12, 2015.
After the Storm: The Eiteljorg Fellowship for Native American Fine Art, Eiteljorg Museum, Indianapolis, Indiana, November 8, 2003-February 1, 2004.
Image and Self in Contemporary Native American Photoart: Carm Little Turtle, Shelley Niro, Jolene Rickart, Hulleah Tsinhnahjinnie, Richard Ray White. Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, September 9-November 26, 1995.
Native Nations: Journeys in American Photograph, Barbican Art Gallery, London, England, September 7, 1998-January 1, 1999.
New Acquisition, Alvin P. Gutman Gallley, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, February-May 4, 2008.
Outwest, Plan B Evolving Arts, Santa Fe, New Mexico, 1999.
Photographic Memoirs of an Aboriginal Savant, CN Gorman Museum, University of California, Davis, California, November 13-December 23, 1994. (solo)
Photographic Memoirs of an Aboriginal Savant, Sacred Circle Gallery, Seattle, Washington, September 9-October 21, 1994.
Portrait of the Artist as an Indian / Portrait of the Indian as an Artist, Harteveldt Family Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 26, 2019-July 15, 2019.
Speaking with Light: Contemporary Indigenous Photography, Amon Carter Museum of American Art, Fort Worth, Texas, October 28, 2022-January 22, 2023.
B. Nixon, Hulleah J. Tsinhnahjinnie at the CN Gorman Museum, The Guide, December 1994.
J. Wong, Photographic Memoirs' Displays Showcases True American Art, The California Aggie, November 16, 1994.
H. J. Tsinhnahjinnie, Photographic Memoirs of an Aboriginal Savant, CN Gorman Museum, University of California, Davis, California, 1994.
J. Alison, Native Nations: Journeys in American Photography, Barbican Art Gallery and Booth-Clibborn Editions, London, England, 1998.
C. F. Feest, The Cultures of Native North America. Cologne, Germany: Konemann, 2000.
T. Claviez and M. Moss, editors, Mirror Writing: (Re)-Construcitons of Native American Identity. Glienicke/Berlin: Galda + Wilch Verlag, 2000.
D. Harry, Genetics and Native Identity, Native Americas: Who's An Indian: Tribal Membership and Indian Status, vol. 19, no. 1 & 2, 2002.
V. Passalacqua, Hulleah J. Tsinhnahjinnie, in Path breakers: The Eiteljorg Fellowship for Native American Fine Art, 2003. Eiteljorg Museum and University of Wahsiington Press, Indianapolis and Seattle, pp. 80-99, 2003.
H. J. Tsinhnahjinnie, Memoirs of an Aboriginal Savan, in Reading Native American Woman, Walnut Creek, California: Alta Vista Press, 2005.
Taylor Payer, A Space for Diagolgue 88, Still We Rise, Women of Color Esistence / Resistance in Contemporary Art, Hanover, New Hampshire: Trustees of Dartmouth College, 2015, checklist no. 2.
Mishuana Goeman, "Historic Interstices of Indigenous Visualities and the Uprooting of Settler Terrains", in Speaking with Light: Contemporary Indigenous Photography,edited by John Rohrbach and Will Wilson, Santa Fe and Fort Worth: Radius Books in collaboration with the Amon Carter Museum of American Art, 2023, pp. 197-208, ill pp. 104-119.
Andrew Smith Gallery, Inc., Santa Fe, New Mexico; sold to present collection, 2007.