Through these efforts, and for better or worse, Navajo mythology, ceremony, and sandpainting have become more standardized across the reservation. Apparently, Klah suffered no ill effects from weaving sandpaintings. In fact, he prospered and gained great respect among the Navajo as a result. It has been the official policy of the Navajo Nation since the 1970s to request that sandpainting imagery outside of ceremonies be kept out of public view. However, economic pressures make the production and sale of sandpainting imagery to collectors and tourists very attractive to many Navajo.
Museums vary in their treatment of sandpainting images.
The Wheelwright Museum in Santa Fe, which owns most of Klah's sandpainting weavings and works on paper, no longer exhibits the sandpainting-related items in their collection. These items are made available for researchers, whether anthropologists or Navajo singers. At the Colorado History Museum in Denver, a recent exhibition of Navajo weaving included some sandpainting imagery. Several Navajo weavers were employed as consultants. The museum felt, as many others do, that the educational value of the items on exhibit was consistent with its mission as an educational institution.