She undertook several actions in the beginning of the 1970s including the creation of Indian Prints of Canada Ltd (1970) a Native-controlled print co-operative, the opening of probably the first Aboriginal artist-run ‘Warehouse Gallery’ (1974) and she initiated the Professional Native Indian Artists Incorporated (1973), better known as the Indian Group of Seven. The last were collectively concerned with copyright issues, art markets, and the politics of the art world at that time. In the fall of 1973, within the spirit of the age and after learning printmaking techniques at Open Studio in Toronto, Joshim and Goyce and their brother Henry opened the Triple K Co-operative Incorporated, with government support, in a modest building on Howey Street in Red Lake, Ontario. In the first year of operation they reproduced a number of unlimited editions on cloth and paper. The artist who contributed most of the work were Joshim and Goyce Kakegamic. With the growing reputations of the artists already involved and with the printing of some works by Norval Morrisseau, it became essential to maintain a certain standard. Therefore Triple K decided only to begin printing original limited editions prints. “Original” in the sense that all prints at Triple K were made from drawings designed specifically for the silk-screen process by the artist. The artist was also involved in every step in the process. At the start of the co-operative Triple K exhibited their productions wherever possible and by the end of that decade they had sold work to forty leading galleries. From 15 May till 30 June 1977 the Royal Ontario Museum exhibited “Contemporary Native Art of Canada – Silk screens from the Triple K Co-operative, Red Lake, Ontario”. By its success of producing high quality art prints which were both affordable and available, the art of the artist involved was made available throughout Canada and the international art world. Besides artwork of the Kakegamic brothers, they produced work of other artists as well, like Barry Peters, Paddy Peters, Saul Williams, and Norval Morrisseau. Triple K paved a path for Native artistic control and disbanded in the early 1980s. Triple K was based upon artistic control, self-representation, and self-determination – representing one another and themselves on their own terms, instead of by non-Aboriginal organizations that might have tried to take advantage. They were part of a movement that provided opportunities for artists, such as inclusion in galleries, access to fine arts education, and the creation of Aboriginal artist-run organizations.