In his paintings, installations, and assemblages, Rocky Cajigan explores material culture, indigeneity, and museology as entanglements in or possibilities for decolonization. His work is largely focused on identity questions and the transitioning of and decolonization in indigenous cultures. What does it mean to be indigenous now? Rocky constantly re-imagines his personal history as part of an indigenous community. He examines the privileges, dangers, and insecurities it holds in the formation of an identity in a place and present where decolonization is often coopted by capital experienced as hegemony, finance, and center.

In most of his works, he interfaces material cultures and their processes of creation and what new meanings can become of them when presented in galleries and museums or in the process of “museumification.” In other bodies of work, he includes the experiential difficulties of continuing colonial habits within indigenous communities, himself an indigenous person. In yet other works, he looks into the accepted cultural performance of indigenous objects riding on the coattails of a national identity or vice versa, a homogenous nation-building project riding on the G-strings of indigenous material cultures.