The World's Columbian Exposition of 1893, in celebration of the quadricentennial anniversary of Columbus's landing in the Americas, spread over six hundred acres of reclaimed marsh lands in Chicago's South Side. Fourteen great buildings and two hundred additional buildings stood on the fairgrounds, and if tourists had visited every exhibit, they would have walked a total of 150 miles. Like other expositions, the World's Columbian Exposition was a white colonial construction rife with real and imagined exhibits fairgoers rarely challenged. Tourists did not concern themselves with any underlying docudramas that made Native performances possible, and it was within this heterotopic playground that Native American performers acted autonomously. This essay examines some of the more pressing concerns experienced by Native American performers who worked in seemingly contradictory ways and how they responded to the problems therein. Indian performers were not hapless victims of exploitative working conditions but, instead, creative resisters of the status quo at the World's Columbian Exposition. (Contains 87 notes.)