Kent Monkman, a painter, filmmaker, and illustrator of Cree descent, appropriates and disrupts the visual language of Western art history in order to draw attention to the devastating affects of colonialism, particularly focusing on its impact on sexuality. By injecting Canada’s First Nations people into romanticized landscapes, or casting Modernist figures from Pablo Picasso into urban scenes, Monkman brings to question the cost of modernity while highlighting the resilience and agency of those forced to adapt. His recurring character, Miss Chief Eagle Testickle, acts as an alter ego that challenges traditional gendered power dynamics and reintroduces sexual fluidity into a history of repression.