"Miyuki-chan in Wonderland" received a range of critical reaction. In "Women in Science Fiction and Fantasy" (2009), Eden Lee Lackner wrote that the manga's notability stems from "how it plays with textual boundaries"; for example, Miyuki travels through Clamp's adaptation of the fictional worlds of "Alice in Wonderland" and "X". According to her, Miyuki's travels to X land serves as "characteristic" of Clamp's intersection of its characters and narratives from its different works. Dani Cavallaro in "Clamp in Context" (2012) stated that "Miyuki-chan in Wonderland"s "most memorable" aspect comes from the sense of artistic "creative enjoyment". Writing for "Sequential Tart", Sheena McNeil greatly enjoyed the manga, praising it as entertaining "fluff". Patrick King of "Animefringe" wrote that the illustrations contributed the most appeal to the plotless manga, with the inclusion of a bonus section and colored OVA concept-art pages praised as well. In contrast, Katherine Dacey, the former senior manga editor for "PopCultureShock", described the manga as "the nadir of this talented quartet’s work" in her list of the ten worst manga. According to her, the "inane" short stories served as "just a pretext for CLAMP to draw scantily-clad beauties engaging in vaguely naughty behavior (usually making a pass at the vaguely horrified Miyuki or inviting her to play strip poker)." Mason Templar, writing in "" (2007), similarly reviewed the manga, commenting that it was best viewed as an artbook. Erica Friedman, the founder of Yuricon, a lesbian-themed convention, and ALC Publishing, wrote that the settings were "loosely based on Lewis Carroll’s iconic works, games and Clamp’s own work." According to her, the manga lacked emotion and a true depiction of lesbians, only showing "fictitious female beings groping a fictitious female character".