In their initial stages, indigenous museums (cultural halls) adopted a ＂large museum leading a small museum＂ model with the expectation of this type of leadership allowing them to attract many visitors. Today, some indigenous museums are no longer relying on comprehensive support from a large museum. Instead, their own curators and volunteers are carrying out exhibition planning. This change in direction has become a new model that allows indigenous museums to cultivate their ability to operate autonomously. How do museums, located in indigenous communities, collaborate with local groups? When indigenous museums create autonomously planned exhibitions, which themes in the production of locality can be explored? The aim of this paper is to investigate the reciprocal relationships in contemporary indigenous museum development, through local significance, clan memory, and fieldwork, using the ＂'Iveci'e'-The Story of Hand-tattooed Elders in Laiyi＂ special exhibition, planned autonomously by the Laiyi Indigenous Museum, Pingtung County, as an example. The results of the investigation indicate that autonomous exhibition planning by indigenous museums can be carried out through field survey methods to explore the roots of the mother culture. In this way, the contents of the exhibition more easily resonate with local groups. Through this process, the interactions of respondents and interviewers strengthened the relationships and concern for others among generations, as well as created emotional bonds. By following this curatorial route, a root connection was achieved. This route led to the production of indigenous knowledge, and this knowledge served as an achievement of this exhibition. In addition, from a certain perspective, the planning of this exhibition became the social techniques for the reproduction of ＂local peoples.＂ The results of field surveys and the development and arrangement of the exhibition stirred up the willingness of the Paiwan people to accept hand tattoos as a method of passing on clan identity. Thus, hand tattooing traditions were validated, making their continued survival more promising. This reconfirmed the corresponding relationships and authority from ancient times to today between one's own family and ancestral clans. In addition, the Paiwan people participated in corresponding cultural activities that allowed the contents of the exhibition to be actualized. This influenced the production of potential for all kinds of new connections and ideas. In addition, planning of this exhibition provided a route for sharing. First, it allowed the elders and their family members to see what was recorded and to express their gratitude and sense of honor. Second, it taught the Paiwan people about their own culture in terms of the knowledge regarding hand tattoos. Of special note is that as the Paiwan people come to understand their authority over the management of the lands possessed by their families, indigenous autonomy becomes more of a possibility. Third, it provided a record for later generations to use. This example of autonomous planning of an exhibition by an indigenous museum demonstrates the differences in exhibition planning between this method and that of the large museum leading a small museum model. Small museums can make use of their close interpersonal networks and relationships and are better able to show deference for information providers and their families. Consequently, they possess the capability to more accurately portray local significance and the memories of family positions. The fieldwork route guides localized production. It allows for the authentic ＂incorporation＂ of indigenous participants, who in the past may have felt that the deeper layers of culture were unfamiliar ＂other communities.＂ Through writings and exhibitions, local actions take shape and accumulate. Planning of this hand tattooing special exhibition not only revealed the importance of local group and museum collaboration in the production of an exhibition, but also constructed partnerships between the local museum and local groups. It called together those with an interest in Paiwan culture and created the energy to manage and operate a local museum. Subsequently, the field survey data can be presented in other indigenous communities or museums to allow the Laiyi Indigenous Museum to contribute to the route to better understanding of the Paiwan culture among more groups. Indigenous museums are a medium for linking the contemporary with the traditional and modern and put forward their own interpretation of culture. From this hand tattooing exhibition, it is possible to discern the specific direction for the management and operation of the Laiyi Indigenous Museum.