Writers consider Gonzales-Day an artist and historian whose larger project (art and research) seeks to broaden the established canons of art and history to recognize those who have been erased, ignored or misrepresented due to race, ethnicity or sexuality.Gerwin, Daniel. "An Artist Reimagines His Ancestors Through Costumed Self- Portraits," Hyperallergic, October 20, 2017. Retrieved March 6, 2020.Mizota, Sharon. "Ken Gonzales-Day at Las Cienegas projects," Los Angeles Times, March 25, 2011. Retrieved March 5, 2020.Caldwell, Ellen C. "Ken Gonzales-Day's Bone-Grass Boy: The Secret Banks of the Conejos River," Riot Material, January 28, 2018. Retrieved March 5, 2020. His conceptually oriented photography often focuses on historical gaps, literalized through prominent blank spaces or "visual silences";Mizota, Sharon. "Ken Gonzales-Day Re-Examines Violence, Race, and Identity," KCET, November 28, 2012. Retrieved March 5, 2020. critic Leah Ollman writes that his work instructs through the framing of holes in the record and collapsing of space between different times and places, "disturb[ing] in direct proportion to its importance." His work also draws on restorative justice practices that seek reconciliation, restitution, the recovery of history and public dialogue to remedy injustice.Caragol, Taína. "Recognition of Major Osage Leader and Warrior Opens a New Window Into History," Smithsonian Magazine, February 19, 2020 Retrieved March 5, 2020.
