Winnipeg Cree artist Kent Monkman’s exhibition, titled "History is Painted by the Victors," is currently on display at the Montreal Museum of Fine Arts. The exhibit features 20 paintings that have been described as provocative and dramatic, with themes that challenge traditional narratives. Critics have noted the exhibition's bold approach, but some have overlooked its straightforward critique of Western perspectives. Monkman presents himself as a god-like figure, revealing what he perceives to be the hidden sexual appetites of men. His work raises questions about the notion of the solitary Western artist, a concept he claims to reject. Monkman often incorporates his alter ego, Miss Chief Eagle Testickle, into his artwork to "reverse the colonial gaze." The exhibit begins with a content warning, informing visitors that it includes themes of resistance, violence, environmental exploitation, and queer visibility. It also provides a "space for reflection" for those who may need it after viewing the works. Miss Chief is described as a "fierce provocatrix" who navigates through time and space in Monkman’s pieces, aiming to disrupt incomplete narratives and offer an empowering perspective on Indigenous gender and sexuality. Visitors are encouraged to look for Miss Chief throughout the exhibit, which features a variety of scenes that blend humor and critique. One notable painting, which shares the exhibit's title, depicts a snow-capped mountain and a crystal lake filled with over 20 naked men. These figures, resembling soldiers, appear to have shed their uniforms, with some hats still in place. In the center, Monkman’s alter ego is seen painting the scene while wearing only red latex boots. The playful tone of some paintings suggests a commentary on the historical suppression of homosexuality among white males. Other works depict Miss Chief in various roles, such as saving Indigenous children or appearing as a comforting figure. In one piece, she replaces the image of God in Michelangelo’s "The Creation of Adam," while in another, she is seen playfully interacting with a white RCMP officer. The exhibition also addresses darker themes, showcasing authority figures engaging in abusive behavior. One painting illustrates an officer yelling at three women in a penitentiary, while another depicts guards attacking naked women in an outdoor prison setting. A separate piece shows police officers preparing to confront unarmed Indigenous individuals, highlighting the ongoing struggles faced by Indigenous communities. Overall, Monkman’s exhibition serves as a complex exploration of history, identity, and power dynamics, inviting viewers to reflect on the narratives that have shaped their understanding of Indigenous experiences.