Marie Watt’s soaring and sinuous sculpture, made of folded blankets collected from second-hand stores, references marker trees. By bending saplings in the direction of important destinations, Indigenous people across North America—including the members of the Seneca tribe and others belonging to the Haudenosaunee confederacy—signaled water sources, hunting grounds, or safe river crossings. The tower-like form also recalls buildings from the modern New York City skyline. Many Haudenosaunee ironworkers participated in the construction of these buildings during the first half of the 20th century, leading to their nickname as skywalkers. While Native people from across the continent treasure blankets as symbols of care and culture, blankets also point to a tragic history. From 1879 to 1969, U.S. government officials and Christian church leaders relocated or abducted Native children, sending them to residential boarding schools to forcibly assimilate the children into white society. Colonizers derided the children who survived and returned to their communities for going “back to the blanket.” This derogatory insult failed to recognize how such children had become estranged from white culture and Indigenous culture alike. Here, Watt offers a beacon of hope by simultaneously reflecting on that history and employing blankets to speak to stories of resilience, familial bond, care, and warmth.