[13] The Gorman Museum at UC Davis described her work as layering "influences from her tribal background (Crow), daily surroundings, aesthetic experiences, collected ephemera and conjured histories that are both real and imagined.

"[14] Though she often deals with serious issues of Native American culture, she often employs humor through the inclusion of inflatable animals, fake scenery, and other elements in the work.

[16] Zach Dundas of Portland Monthly noted her "mash-ups of mass-market and Crow culture make perfect sense...Red Star is enjoying a moment in the wider art world.

"[1] According to the description of her APEX exhibit at the Portland Art Museum, her early work "employed gender-focused, political self-imagery...to draw attention to the marginalization of Native Americans.

In 2014, she curated Wendy Red Star's Wild West & Congress of Rough Riders of the World, "the first-ever all-Native contemporary art exhibition at Bumbershoot", which took place in Seattle during the annual musical concert.

[6] In 2017, Red Star curated an exhibition at the Missoula Art Museum called Our Side, which featured four contemporary Indigenous female artists: Elisa Harkins, Tanya Lukin Linklater, Marianne Nicolson, and Tanis S'eiltin.

For Walks in the Dark of the Thunder Up Above series, she created a costume with European and Victorian motifs in a Native American design, and photoshopped an interplanetary background.

Dundas observes, "The sci-fi results evoke the intrigue and suspicion of first contact with an unknown people—or, as she put it in her artist's statement, 'someone you would not want to mess with'.

[15] Blake Gopnik of Artnet News commented, "Posing amid blow-up deer, cut-out coyotes and wallpaper mountains, Red Star uses her series to go after the standard blather about Native American's inevitable 'oneness' with nature.

[24] Red Star characterizes her work as research-based, especially as she investigates and explores clichéd Hollywood images like beautiful maidens or western landscapes.

Red Star took photographic prints of the covers, substituting her own image in a cheap costume for the character "White Squaw", using all the original taglines, with comical satiric effect.

She used a red pen on a print of this famous image to notate his outfit and the symbolism attached to elements such as his ermine shawl, the bows in his hair, and the eagle fan he is holding.

[25] In an effort to focus on the culture and history of the Crow nation, she removed the background of the pictures to bring attention to the Indigenous people and objects in the foreground.

[26] This series of color photographs consists of grids of idiosyncratic, typological elements of life on Crow reservations: government houses, broken down "rez" cars, sweat lodges, signs and churches.

The sculpture, a red glass representation of the artist's fingerprint, embedded in a granite boulder, featured the names of Apsáalooke leaders who had signed treaties and was sited directly next to the Memorial to the 56 Signers of the Declaration of Independence in Constitution Gardens.

Red Star engaged with Standford students affiliated with the Center for Comparative Studies in Race and Ethnicity as well as the Institute for Diversity in the Arts by researching and gathering materials for the artworks.

This is an example of efforts made by Red Star to create public art and space to get people across communities and generations to interact with indigenous stories.