"Kent Monkman's buffalo jump is a wry tour de force" by Peter Simpson, October 2015
"It is all quintessentially Monkman - dexterous in its execution, both accessible and profound, both funny and sad... I walked out of the room and asked myself, is there a more compelling artist in Canada today?"
The Globe and Mail
"Kent Monkman's latest documents North American bison slaughter in 3-D" by James Adams, October 2015
"With Rise and Fall, Monkman as an aboriginal artist niftily reappropriates into three dimensions the two-dimensional appropriation Picasso enacted for the greater glory of 20th-century Modernisim... Viewers will find their minds a-swirl in a cross-fire hurricane of associations and allusions."
The Toronto Star
"Kent Monkman: Revisionist history, spiked heels and all" by Murray Whyte, February 2015
"Monkman's skill is as much as a critic as a painter. He uses humour and gleeful camp as a Trojan Horse of sorts to communicate the very real dissent at the core of his project: about the shameful historical treatment of Canadian aboriginals by British and French colonizers, and the bedrock of the same inequities today."
"The Violent History of Kent Monkman" by Hrag Vartanian, June 2014
"In Kent Monkman's first New York solo show, art history commingles with cultural mythology in a passion play about masculinity and belonging."
"Kent Monkman, Aka Miss Chief Eagle Testickle, Confronts Native American Myths" by Katherine Brooks, May 2014
"In an effort to harken back to visuals of the past, Monkman creates his own technique and his own aesthetic, that speaks personally and universally to the misconceptions of colonization and the very real experiences of so-called disappearing people."
The Boston Globe
"Two Museums show Native American Art, then and now" by Sebastian Smee, February 2012
"'Théâtre de Cristal'... gets the show off to a spectacular start."
"Toe-curling, humorous, and flat-out depressing"
"The Peabody Essex explores Native America" by Greg Cook, April 2012
"The Cree artist plays his drag show for laughs, but underlying it are serious questions about white genocide of Native American Societies."
"At Play in the Unified Fields of History" by Sholem Krishtalka, July 2012
"The camp and the visual verve is rooted in a kind of seriousness, an attention to multiple vantage points of history, some forgotten, some indelibly imprinted in our visual memories."
The Globe and Mail
"Kent Monkman: Honouring the dispossessed" by Sarah Milroy, October 2012
"There's a knife twist, then, at the heart of Monkman's metaphor: A metaphor drawn from a Christian story is used to eulogize a way of like that Christianity unravelled."
Winnipeg Free Press
"Mythmaking in The Margins" by Steven Leyden Cochrane, November 2012
"Here, as in all his best work, Monkman walks a razor's edge between sneering camp and mournful beauty, all the while bristling with scarcely disguised rage."
"The Pink Indian" by Gerais Hannon, September 2011
"If our Metis nation needs a millenial symbol we could do worse than this: a half-breed in a feathered headdress, wearing hot pink platform heels."
"Trickster in Drag Upends Colonial View" by Robert Amos, June 2010
"S/he does it again and again, grabbing hot-button issues, important and unresolved -- colonialism, sexuality, the meaning of art -- and shuffles them adroitly."
Review of show at the Museum of Canadian Contemporary Art by Ashley Johnson, Spring 2008
"The sense of fun in this exhibition is palpable, and it also poses the serious question of what is natural and valuable in human nature. Monkman is brilliant."
"Exhibition Preview" by Jessica Lack, September 2008
"Funny and politically incisive, his injection of some Cher-like glamour into the heart of America's butch psyche is like throwing a Versace wedge into an auto-repair shop."
Winnipeg Free Press
Review of show at the Urban Shaman Gallery, Winnipeg by Stacey Abramson, 2008
"This exhibition is characterized by honesty and weight, rethinking history while maintaining the highest level of artistic expression."
"Aboriginal Art with Attitude" by Paul Gessel, July 2007
"Monkman's work is a breath of fresh air blowing through the world of aboriginal art."
"Camp Magic" by Sholem Krishtalka, June 2007
"...personal resonance is the spark of his encyclopedic revisionist project, and one that Monkman hopskotches through with all the ease of a kid at play."
"Landscape with Sexy Transvestite" by Jordan Timm, December 2007
"Miss Chief has so far proven an able tour guide for Monkman's alternate narratives of cultural oppression. She's helped set Monkman's star on the rise in the art world."
Royal Ontario Museum
Interview with the artist, by Kelvin Browne, Winter 2007
"[My work} is a re-imagining of the past that questions the basis for many of our beliefs today."
"Kent Monkman's Postindian Diva Warrior" by David McIntosh, Volume 29, Number 3, July 2008
"Monkman Reaches [deep] into the palimpsest play of representational histories, into the dusty image core of the tropes of power."
Interview with the artist by David Furnish, March 2006
"...when I make these paintings I'm not necessarily re-painting history, but I'm nudging people toward seeing that there are these big missing narratives."
"Kent Monkman: Miss Chief's Return" by David Liss, Fall 2005
"Liberated from the constraints of accepted dogma... Monkman feels perfectly free and justified in playing out his fantasies across the theatre of history."
Review of show at Compton Verney, Warwickshire, UK, by Jessica Lack, October 2005
"[Monkman's show is] a thrilling combination that is both artfully inventive and unsettling in its revisionism."
"Dare We Reinterpret the Group of Seven?" by Murray Whyte June, 2005
"[Monkman offers] cheeky recreations of several of Harris' pieces in watercolour, overlaid with text, and an addition or two - a cowboy and Indian, say, in a particular kind of romantic entanglement."
"The Unreadable Present: Nadia Myre and Kent Monkman" by Richard William Hill, September 2002
"[Monkman's] surfaces are highly complex, built from many layers of paint of varying degrees of transparency."