This thesis explores the use of humour as a means to negotiate themes of identity in some contemporary Canadian art by Diana Thorneycroft, Simon Hughes, and BGL. To ground this exploration of humour as a theme this thesis looks at humour theory and specifies three different discourses of humour which appear to recur frequently within the practices of the artists chosen: incongruity theory, national humour, and irony. As a context for this discussion, the broader topic of contemporary art and humour is addressed. This thesis then looks at the individual artistic practices as case studies. Diana Thorneycroft’s Group of Seven Awkward Moments series is analyzed for its use of Group of Seven paintings as backdrops for incongruous or uncanny scenarios related to Canadian identity. I examine Simon Hughes’ artistic practice from 2002-2007 where Expo 67 and Canadian architecture are the focus, and he makes ironic use of Native imagery.  Finally, the section on BGL looks at the way this artists’ collective use irony and incongruity to juxtapose themes of folkloric Quebec life with contemporary consumer culture.  All three case studies enable a discussion of how humour can be used to approach the loaded topic of Canadian identity.