The Stories We Keep
Now on view at Minnesota History Center
Ticket price includes admission to all Minnesota History Center exhibits. MNHS Members get in free.
This exhibit features 25 objects from MNHS collections—a rich trove built on the generosity and foresight of thousands of people who have entrusted us with their belongings and their stories.
Each object connects to a past moment. As you spend time with them, ask questions. Who made you? Who cherished and saved you? Did you change lives? What secrets do you hold?
Look closely, then read carefully. Let each story unfold. When you harness the power of objects to study the past, the discoveries never end.
For more than 175 years, the Minnesota Historical Society has preserved and shared the stories that define our state. The Stories We Keep, the inaugural exhibit in the Minnesota History Center’s new Collections Gallery, brings this mission to life through 25 remarkable objects from MNHS collections.
Milk carton kayak
Hymnal with beaded cover
Built in 1971 and raced in the second Minneapolis Aquatennial Milk Carton Boat Race a year later, this kayak crossed Bde Maka Ska (then known as Lake Calhoun) several summers until 1977.
Thirty years later, maker David Garron cleaned up the kayak and dubbed it “The Spirit of ‘71.” He recruited 71-year-old Dudley Flamm to steer the boat and, you guessed it: “Spirit” won first place in the 2001 race.

Okodakiciye Wakan Tadowan Kin/Hymnal According to the Use of the Protestant Episcopal Church in the Missions Among the Dakotas of the Missionary District of South Dakota
Compiled by William Hobart Hare, 1902
Purchase supported by Carl A. Weyerhaeuser Rare Books Fund
PM1024 .O463 1902
The artist—or artists—who created this book cover didn’t sign it. Missionary churches organized Wíƞyaƞ Omníc̣iye (women’s gatherings) where members created needlework, quilts, quillwork, and beadwork to sell to raise funds for the church. This book cover might have been made in such a group.
Native women used these church-sponsored maker spaces to build and reinforce community ties, and to pass along art traditions. That’s what makes this work so intriguing. Elements of Ojibwe and Cree beadwork styles appear on this Dakota-language hymnal. Where did the artists come from? Did women from other tribes visit or live at this reservation? Who taught whom?