In a rare self-portrait by Rebecca Belmore, the artist stands at a distance with her back to the camera, unrecognizable in a bright-orange work suit, its fluorescent X demarcating her shoulders against a huge expanse of plastic tarp. Safety vests appear throughout her photographs as uniforms for the artist as worker, but they also serve a signatory function: On land treaties with the British colonial government, indigenous leaders often marked their names with an X. In wearing this sign in the Canadian landscape, Belmore asserts her presence as both resident and author, marker and maker, whose