Trade is an early and important example of Gibson's transition into the Native American work that has come to define his practice: large scale painted works utilizing and recycling shards of earlier paintings that he collaged onto the surface, a format he developed in parallel with his beadwork and sculpture. The canvas is not a ground but a material in itself: pre-existing painted surfaces, cut and reassembled, carry the history of earlier marks beneath the new work's geometry. The title is exact. Trade describes the central transaction of Gibson's practice: between Indigenous visual traditions and the canon of Western abstraction, between what is given and what is taken, between cultural inheritance and cultural exchange. The chevron patterns and diagonal stripe fields drawn from powwow regalia and Choctaw textile design sit alongside color relationships that invoke Frank Stella and Josef Albers, refusing the hierarchy that has historically placed one above the other. The glass beads and steel studs at the edges insist on this: the painting is also an object, a made thing in the ceremonial tradition, not merely a picture.