Four-Point Ply, 2019, challenges the idea that Indigenous beadwork must be preserved to be valued. Beaded directly onto toilet paper, a material meant to be discarded, the piece questions Western expectations around permanence, care, and the archive. The use of Hudson’s Bay Company stripes points to the colonial legacy of the HBC, whose role in the fur trade linked the exploitation of Indigenous lands and labour with the circulation of beads as trade goods. Beads, once tools of colonial exchange, have long been re-claimed by Indigenous artists as powerful materials of cultural continuity and innovation. By combining beadwork with an object of everyday use and ephemerality, Murray critiques how Indigenous art and peoples are often treated as a commodity.