[2] Her work challenges mainstream perspectives on colonialism and the relationships between settlers and Indigenous people in a practice marked by political invective, humour, and a deliberate crudeness of style.
The show featured painted shirts and dresses that were grounded in a movement among Plains First Nations groups in the 19th century, known as the ghost dance religion.
The glass-bead pathogens used in that series have led to a new body of work related to unsafe water conditions found on First Nations reserves.
An exhibition in March 2016 in Saskatoon further articulates this artistic direction that, like her earlier body of work, challenges colonial issues in Canada.
[11] In 2019 her beaded work was included in ÀbadakoneIContinuous FireIFeu continuel, an exhibition of contemporary international indigenous art at the National Gallery of Canada (Ottawa).
In 2020 she added several versions of the work Surviving COVID-19 to the collection, some which features beads affixed to a white face mask representing the microscopic images of the COVID-19 virus.
Cuthand incorporates intense and provocative pieces exploring themes of colonialism, stereotyping, residential school abuse, intergenerational trauma, and institutionalized racism.
She uses glow in the dark beads representing brain scans of various mental illness including PTSD, which is tied to the intergenerational trauma experienced by Indigenous communities.