Tariffs imposed by the United States on Canadian-made Indigenous art are disrupting not only sales but also long-standing cross-border cultural connections vital to First Nations, Métis, and Inuit artists. The recent 50-per-cent levies introduced by the Trump administration have forced artists, dealers, galleries, and logistics providers to reevaluate their operations as sales to the U.S. have declined sharply.

Toronto-based Métis artist Jason Baerg, who has lived, taught, and sold art in the U.S., described the tariffs as a profound obstacle that complicates his ability to earn a living. Baerg emphasized that Indigenous peoples on both sides of the Canada-U.S. border do not traditionally recognize these imposed national boundaries, which disrupt the flow of cultural exchange. He referenced the Jay Treaty of 1794, which affirms the right of Indigenous peoples to move freely and carry personal goods across the border. Baerg argued that this historic treaty, despite being contested in legal interpretations, should apply to contemporary art and facilitate continued cross-border artistic exchange.

However, the Jay Treaty’s applicability remains contested. Canada’s Supreme Court ruled decades ago that the treaty does not govern present-day Canadian law, and the treaty itself was originally signed between Britain and the U.S., predating Canada’s confederation. Nevertheless, artists like Baerg maintain that honoring these Indigenous rights is paramount.

Chief 7IDANSuu (James Hart), a Haida carver and sculptor from Haida Gwaii, echoed concerns about the challenges the tariffs create. Although the Jay Treaty has historically allowed Hart to travel between B.C. and Alaska, he expressed uncertainty about how the new tariffs affect moving artwork across the border. Hart recently received an order for a major sculpture from a California buyer but now fears whether he can fulfill it amid tariff barriers. “It was going to be my next payday for a few years,” he said, highlighting the tangible economic impacts.

The imposition of tariffs on Indigenous art by the U.S. government builds upon earlier measures starting in 2025, including the removal of the de minimis exemption that previously allowed shipments valued under US$800 to enter the U.S. duty-free. This change has disproportionately harmed Indigenous artists who often deal in smaller-scale items, such as beaded jewelry. Métis curator Liz Barron of Winnipeg noted that tariffs now cause prices of modest items to effectively double when shipped to the U.S., driving some to consider more costly international shipping alternatives.

Galleries specializing in Indigenous art are also facing difficulties. Vancouver’s Fazakas Gallery, which has championed contemporary Indigenous artists, reported that sales to U.S. buyers have plummeted from around 30 per cent to near zero since the tariffs took effect. Owner LaTiesha Fakzas said the curtailment of cross-border trade threatens a broader cultural exchange at a moment when Indigenous voices have gained greater exposure. While domestic sales of Indigenous art have increased, there is concern that artists may not fully thrive without access to the U.S. market.

Overall, the tariffs have sent ripples through the Indigenous art community, affecting not only economic livelihoods but also the cultural and social ties that have historically connected Indigenous peoples across the Canada-U.S. border.