Blouin, René. Canadian Art, March 1985, p.25;

Dault, Gary Michael. Chasing truth through the looking glass. The Globe and Mail, 6 June 1998;

_______. Sandra Meigs catches a wave. The Globe and Mail, 4 September 1999;

_______. A nice afternoon’s journey into light. The Globe and Mail, 8 September 2001;

Ghaznavi, Corinna. JOYJOYSORROW. dArt International, Winter 2000;

Grande, John K. Sandra Meigs. Artforum, 28, April 1990, p.183–184;

Gravel, Claire. Sandra Meigs: Le Saisissement du reel. Vie des Arts, no.140, September 1990, p.35-39;

Gopnik, Blake. Coming face to face with our paranoia. The Globe and Mail, 12 September 1998, p.C18;

________. Putting a new face on painting. The Globe and Mail, 18 September 1999;

Guest, Tim. 80/1/2/3/4. Vanguard, 13(May 1984), p.43-44;

Heather, Rosemary. Sandra Meigs. tema celeste, (November-December 2001) p.87;

Hume, Christopher. Picturing the real, and then some. The Toronto Star, 27 June 1998;

Jordan, Betty Ann. Making Strange makes sense. The Globe and Mail, 5 October 1996;

Kunard, Andrea. C Magazine, 25(Spring 1990), p.66-67;

Lehmann, Henry. What the bosses are buying. The Gazette, 1 April 2000;

Lepage, Jocelyne. La Presse, 22 December 1984;

Mandel, Corinne. Artmagazine, 13, Summer 1982, p.38-39;

Mays, John Bentley. A harrowing ride through Sandra Meigs' Maelstrom. The Globe and Mail, 12 April 1980;

_______. The Snakes in the Garden: The Self and the City in Contemporary Canadian Art Visions: Contemporary Art in Canada. Vancouver: Douglas & McIntyre, 1983;

_______. The thinking person’s artist. The National Post, 1 September 2001;

Monk, Philip. Subjects in Pictures. Parachute, 37, December/January/February 1984-85, p.14-23;

Oille, Jennifer. Sandra Meigs. Vanguard, 11, March 1982, p.32–33;

_______. Sandra Meigs. Vanguard, 13, September 1984, p. 30–31;

Rhodes, Richard. Sandra Meigs. Parachute, 29, December–January–February 1982-83, p.34-35;

Tourangeau, Jean. Theatre of the Imagination. Vanguard, 14, April 1985, p.36;

Tousley, Nancy. Virtue vs. Vice. The Calgary Herald, 21 October 1993;

_______. Mary. The Calgary Herald, June 1994;

_______. Sandra Meigs: Strange Enchantment. Canadian Art, vol.14, no.4, Winter 1997, p.42-49

_______. Artists unmask absurdities of everyday life. The Calgary Herald, 16 November, 1998;

Town, Elke. It's a Strange World. Vanguard, 16, April-May 1987, p.19-22;

Wood, William. C Magazine, 12, Winter 1986/87, p.54-55;

Bradley, Jessica. Making Strange. Toronto: Art Gallery of Ontario, 1996;

Bronson, AA (ed.). Sea to Shining Sea. Toronto: The Power Plant, 1987;

Burnett, David. Toronto Painting '84. Toronto: Art Gallery of Ontario, 1984;

Dompierre, Louise. Sandra Meigs: Pas de deux. Toronto: The Power Plant, 1990;

Fischer, Barbara. Sandra Meigs: Dummies. Vancouver: Contemporary Art Gallery, 1997;

Landry, Pierre. Sandra Meigs. Theatre of the Imagination. Montreal: Montreal Museum of Fine Arts, 1984;

Monk, Philip. Subjects in Pictures. New York and Toronto: 49th Parallel/YYZ, 1984;

O'Neill, Colleen. Orifaces. St. John's: Memorial University, 1991;

St. Pierre, Gaston. Les lieux communs: culture populaire et art contemporain. Saint-Jean-Port-Joli, Quebec: Centre de sculpture Est-Nord-Est, 1998;

Tousley, Nancy. The Newborn. Toronto: Susan Hobbs Gallery, 2001;

Meigs, Sandra. Cookie. Descant, 76-77, p.121-127;

_______. The Western Gothic. Sandra Meigs: Pas de deux. Toronto: The Power Plant, 1990;

_______. Semi Wind-up Bout. Descant, 56-57(Spring-Summer),p.44;

_______. The Western Gothic. Theatre of the Imagination. Montreal: Montreal Museum of Fine Arts, 1984;

_______. This Door Out of Puguratory. C Magazine, 1(Winter 1983-84) p.35-39;

_______. Scenario. Descant, 41(Summer 1983), p.19-21;

_______. Heavens to Betsy. Lethbridge: University of Lethbridge Art Gallery, 1983;

_______. Dogwatch Works. Halifax: the artist, in conjunction with the Nova Scotia College of Art and Design, 1975;

_______ and Moon, Cecily. Virtue vs. Vice. Banff: Walter Phillips Gallery, 1993;

_______. Canadian. Toronto: Susan Hobbs Gallery, 1995;