Durham also received the Günther-Peill-Preis (2003),[2] the Foundation for Contemporary Arts Robert Rauschenberg Award (2017),[3] and the 58th Venice Biennale's Golden Lion for lifetime achievement (2019).

[11] From 1973 until 1980 he worked as a political organizer with AIM, becoming a member of the movement's Central Council and representing himself as Native American.

[citation needed] After several years in Mexico, Durham moved to Europe in 1994, initially relocating to Berlin and then Naples.

His anti-architectural sculptures, performances, and videos seek to liberate architecture's privileged material, stone, from its metaphorical associations with monumentality, stability and permanence.

In 2005 Durham co-curated with Richard William Hill The American West, an attack on cowboy and Indian mythology, at Compton Verney, United Kingdom.

In 2009, a permanent public art piece by Durham, Serpentine rouge, was installed in Indre, France, along the Loire River.

[20] In 1995 Phaidon Press published Jimmie Durham, a comprehensive survey of his art, with contributions by Laura Mulvey, Dirk Snauwaert, and Mark Alice Durant.

[citation needed] In 2003, a retrospective of his work, titled From the West Pacific to the East Atlantic, was shown at MAC in Marseille, France, and at GEM in The Hague, The Netherlands.

[citation needed] In 2012, another retrospective, A Matter of Life and Death and Singing, curated by Bart De Baere and Anders Kreuger, was shown at MuHKA in Antwerp, Belgium.

[citation needed] In 2017 the retrospective Jimmie Durham: At the Center of the World, curated by Anne Ellegood, opened at the Hammer Museum in Los Angeles and traveled to the Walker Art Center in Minneapolis, the Whitney Museum of American Art in New York City, and Remai Modern in Saskatoon.

[5]They went on to state that by claiming to exhibit his work as a Cherokee person, Durham is in violation of the Indian Arts and Crafts Act.