Kent Monkman, a Cree two-spirit artist known for his provocative and gender-fluid alter ego Miss Chief Eagle Testickle, is set to present a new exhibition at the Frick Collection this November. The show, titled “Officer and Laughing Girl,” marks a significant milestone as Monkman becomes the first Indigenous artist to exhibit at the institution, which typically features traditional European masters such as Rembrandt and Velázquez.

The series of paintings draws inspiration from Johannes Vermeer’s 17th-century work of the same name, housed in the Frick’s collection. Monkman reimagines the composition as a staged encounter spanning centuries of Indigenous and European settler relations in North America. His artwork features figures ranging from Dutch fur traders to historical figures like General George Custer and Sitting Bull, culminating with a contemporary scene including a bald tech executive resembling Jeff Bezos.

Aimee Ng, the Frick’s chief curator, described Monkman’s approach as a deliberate departure from the conventional historical painting genre, which traditionally serves to affirm dominant narratives and moral lessons. Instead, Monkman’s work challenges viewers to reconsider the narratives surrounding colonial history, prompting reflection on whose stories are told and which are altered or omitted.

Monkman, 60, has become known for his ability to blend romance, humor, and critique in his landscapes and ethnographic portraits, often featuring Miss Chief as a trickster figure who engages directly with the viewer. His work has gained wider recognition following large-scale installations such as the 2019 commission for the Metropolitan Museum of Art’s Great Hall, where Miss Chief’s presence was both conspicuous and confrontational.

The timing of Monkman’s exhibition is notable amid renewed discussions about nationalism and historical memory in North America. Recent political actions and rhetoric, including efforts to rename geographic landmarks, have reignited debates over colonial legacies and Indigenous sovereignty, themes that resonate deeply through Monkman’s reinterpretations of history.

“Officer and Laughing Girl” originated as a 2023 book project collaboration between Monkman and Ng, evolving into a suite of paintings that serve as a “time machine” confronting the complexities of Indigenous-settler encounters through art. By recontextualizing historical moments and figures, Monkman invites audiences to engage with the layered realities of history and to question the veracity of accepted versions.

Monkman’s work continues a lifelong inquiry into history and identity, shaped in part by his early experiences growing up near Winnipeg, Canada, and observing the marginalization of Indigenous peoples. His exhibition at the Frick represents a rare institutional platform for such a critical Indigenous perspective within the classical art historical canon.