"Weaving is Life" features the work of multiple generations of Navajo weavers. Combining works drawn from the Kennedy Museum of Art's existing collection of Southwest Native American textiles with newly commissioned weavings, the exhibition includes the work of as many as four generations of weavers from four different families. Weavers represented are Grace Henderson Nez, Mary Henderson Begay, and Gloria Begay from Ganado; Glenabah Hardy, Irene Clark, and Teresa Clark from Crystal; Lillian Taylor, Lillie Taylor, Rosie Taylor, Diane Taylor and Amber and Twyla Gene from the Indian Wells community; and D. Y. Begay from Tselani.

The exhibition incorporates videotaped interviews in which the artists explain how Navajo weaving has functioned as an important carrier of cultural values. Through listening to what these women have to say and considering their work within the familial context of its production, the vital cultural function of their work and their commitment to its survival become immediately apparent. Expertise in weaving practice makes these women valued repositories of traditional knowledge. Weavers' comments reveal how they must be depended upon to convey such knowledge and expertise to subsequent generations, and how this has served to further important mother-daughter and grandmother-granddaughter bonds.

D. Y. Begay, who served as Community Curator for this exhibition, comments on the value of weaving as an important cultural practice: "It all goes back to the tradition of weaving. We believe that weaving is a special gift from Spider Woman. So there are a lot of cultural values behind our weaving." Begay further explains how weaving works to solidify generational bonds: "I enjoy talking about my weaving, It is a very important part of my life because my weaving is part of the family tradition. My mother weaves, and her mother wove, and her mother wove. So it has always been handed down from generation to generation. And I continue to weave today using the same technique that my great grandmother used. My colors have changed. My designs have changed. But the technique is still the same, and the cultural values are still applied."

Navajo weaving is valued for the ways in which it can convey values to the next generation. Irene Clark, who is represented by two Crystal Style weavings (one of which was produced especially for this exhibition), addresses the continuing importance of Navajo weaving: "My mother here, she is very thankful for my weaving. She said 'Thank you, my daughter, you learn to weave. This is going to be your life. This is going to be a life. Your mother is extremely thankful.' This is what she told me. Forever I will remember my mother. I'm going to continue weaving. I'm a daughter, and I want my daughter to learn. I want my grandkids to learn." Clark, recipient of numerous awards including a prestigious Southwest Association on Indian Arts Fellowship, is widely recognized for preserving the art of natural dyeing with plants gathered from her immediate environment. She is also known for her signature designs. Clark uses the hair bundle (or hair bun) design that her mother, Glenabah Hardy, invented. Irene passed this design along to her own daughter, Teresa. Both Irene and Teresa carry on that specific design as a means of honoring their mothers.

Weaving reinforces and allows the weaver to participate in perpetuation of values such as hard work, thrift, and creativity. Further, it requires and facilitates knowledge of and the proper care and nurturing of one's environment, both physical and social, so that a reciprocal relationship with it can be maintained.