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Painter and visual/performance artist Kent Monkman (Swampy Cree) intervenes in colonial art history by reinscribing two-spirit people into dominant discourse. Following Qwo-Li Driskill’s concept of Sovereign Erotics, which privileges healing from historical trauma that is “within the histories, traditions, and resistance struggles of our nations,” this article traces the counternarratives in Monkman’s art.
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