In this paper, we expand on existing studies of Canadian Inuit art in the international arena by examining ways in which this new art served domestic purposes, focusing primarily on the 1950s and 1960s. The Canadian government developed and promoted Inuit art as part of its project to transform Inuit from semi-independent hunters into modern Canadian citizens. In this effort, Canada took up and assimilated Inuit art as a genuine Canadian cultural product, presenting it as diplomatic gifts and for other forms of international cultural diplomacy. Previous studies of Canadian Inuit art from that era have noted the ways that the promotion of Canadian Inuit art supported the young nation’s claims to a deep history, while simultaneously marking the country’s distinction from both the United States and the United Kingdom. In the context of the Cold War, the promotion of Canadian Inuit art also asserted Canada as an Arctic power. Labelled as “primitive modernist” fine art, Inuit sculpture and prints provided a stark contrast to the contemporaneous socialist realist art of the Soviet Union and its allies. We argue that the success of the Inuit art program sustained a belief among government officials that their programme to remake Inuit lives and livelihoods would succeed. Inuit art likely deflected attention from the many things that were going wrong with that northern modernisation project.