[1] In 1913, Florence and Louis Shotridge co-authored an ethnographic article entitled, "Indians of the Northwest" which appeared in the University of Pennsylvania's Museum Journal.

Her Tlingit given name, Kaatxwaaxsnéi, referred to a ceremony held on a special occasion,when clan elders would mix powdered abalone and clam shells with tobacco to be smoked.

During Florence's youth, Haines began to receive an influx of tourists, who were eager to buy Native Alaskan crafts; the economy of the town also relied on canneries, which were depleting the local salmon stocks.

Brady chose Florence Shotridge, one of the few Chilkat females who could weave and speak English fluently, a result of her having attended the Presbyterian mission school in Haines.

[1] Florence Shotridge attended the Centennial Exposition with her husband Louis, who brought several Tlingit craft items with the idea of selling them to collectors.

[3] Lacking employment when the Lewis and Clark Exposition ended, Florence and Louis Shotridge took a series of temporary jobs during the years from 1906 to 1913 and hired a tutor to improve their English skills.

Photographs show that Florence and Louis Shotridge sometimes wore Plains Indian outfits, with leather, beadwork, and feathered decorations, which were quite different from the Tlingit clothing of Alaska.

Because of the tuberculosis she had contracted years before, Florence spent this trip in ill health and ultimately died in Haines, Alaska, in a house that the Shotridges had built.

[9] This French anthropological journal was the publication of the Société des Américanistes (Society of Americanists), founded in 1895, which continues to flourish today under the aegis of the Musée du Qual Branly Jacques Chirac in Paris.

"[11] Florence Shotridge claimed in this text that Chilkat society sharply discouraged girls from talking loudly and prized silence and decorum in women.

Brady recruited Florence Shotridge to demonstrate Chilkat weaving, as she was the only one in her tribe who spoke English, and invited her husband Louis along, to describe Tlingit masks and dyes.

[7] In 1911, Louis Shotridge asked the Penn Museum's director, George Byron Gordon, to buy the Chilkat blanket which had taken Florence many months to weave, first, at the Lewis and Clark Exposition and later, in Los Angeles (where she completed it).

"Minnehaha Is Dead", declared an obituary that appeared in a Philadelphia newspaper,[15] calling her by the name of the central female character in Henry Wadsworth Longfellow's 1855 epic poem, Hiawatha.

As the Mexican filmmaker Pablo Helguera demonstrated in a video documentary called What in the World that he produced about the Penn Museum in 2010, Florence Shotridge's work largely catered to non-Native audiences.

With her husband Louis, Helguera argued, Florence Shotridge was "playing to others' expectations as to what constitutes Indian-ness" and in that way that "enact[ed] Anglo-American desires for a pure, unsullied order.

"[16] Writing in 2001, the anthropologist Elizabeth Seaton observed that Florence Shotridge, during her short career at the Penn Museum after 1912, had been a "'museum Indian' – a living ethnographic exhibit of sorts" who cultivated stereotypes about Native Americans as alternately primitive, exotic, and erotic.