This essay theorizes Wendy Red Star's (Apsáalooke Nation) artistic interventions in colonial archives as practices of Indigenous adornment: reciprocal aesthetic acts that restore proper relation between ancestral materials and contemporary communities rather than preserving them as inert objects of study. Against the Western archival tendency to mummify cultural expression into permanent past tense, Red Star's practice enacts not preservation but feeding, not documentation but ceremonial tending. The argument moves through two complementary modalities. Like beadwork, Red Star's annotated photographs in her 1880 Crow Peace Delegation series thread new knowledge onto static records through accumulative, meticulous placement, each red-ink marking echoing the Apsáalooke beadwork it traces, each annotation restoring cultural specificity that colonial framing deliberately suppressed. Like star-quilting, works in her Crow's Shadow series bind archival fragments into broader Indigenous aesthetic continuities through conjunctive patterning, the eight-point star not merely framing ancestral portraits but constituting what I term Oórútixubaa: a sacred knotting in which present and ancestral temporalities enter simultaneous relation. The essay situates these methodologies against the specific gravity of Carlisle, Pennsylvania, where The Trout Gallery hosted this exhibition less than two miles from the former Carlisle Indian Industrial School, an institution in which Dickinson College was materially and ideologically implicated. Red Star's ultimate contribution, my argument holds, is not critique but reconstitution. She does not merely annotate colonial records but reconfigures the archive's ontological status from mausoleum to generative nexus, opening what the essay calls archival futurity: the transformation of documents meant to authorize Indigenous erasure into living ground for Indigenous resurgence.