The focus of this article is the Swedish Romani jewellery artist Rosa Taikon and her practice during the first part of her career. It opens with a description of her education and the devel- opment of her unique expression, combining late modernist art jewellery and Romani craft traditions. Two exhibitions are analysed. The first is the exhibition „Zigensk smycketradition – Rosa Taikon“ at the Nationalmuseum in 1969, which was her great debut exhibition during the counter-culture heyday. This exhibition was as much about Roma history and traditions as about Taikon’s own work. The second example is the exhibition „Rosa Taikon. Bernd Janusch. Smyckekonst. Corpus Silver“ at the Röhsska musset [Museum of Design and Craft] in Gothenburg in 1983, which was presented as post-modernist discourse was coming to the forefront, and therefore made less visible political statements than the one in 1969. By analysing this change, I do not just want to portray a brilliant, creative artist, but also to discuss the conditions in which Taikon worked and the difficulty of an artist from a minority being regarded on the same terms as her peers. The article ends by pointing to the important work regarding Taikon’s legacy that is being done in Sweden today. Key words: jewellery art, craft, Romani traditions, Sweden