"Unlike most contemporary paintings or sculptures, Eliasson’s pieces are designed for the viewer to actively participate. There is no instantaneous “I get it” reaction here, no quick summation, as his works are more abstract. They beg you to stare for long moments, lingering before them to absorb something simple like the beauty of natural colors refracted off of water, perhaps even feel the cool liquid touch your skin before it gathers at your feet."

“Blake was a non-Conformist who spent most of his artistic life waging a mental war against the Church of England and the monarchy and parliament for which it stood bastion. Today the Church of England is a Blakean operation and succeeds in wooing congregations by doubling up as art galleries, concert halls, theaters, etc. Even the poetic vanguard sticks its head in occasionally.”

"As well as the meta-physical, which is so often the retreat of the artist, there is color and movement, warmth, humor, and a kind of illustrative conformity that references both the past and present trends of the visual arts."

"It is this truth and brutality that make images that startle the viewer. Unlike the Surrealists, who directed their attention to creating a new visual vocabulary in order to elucidate traditional meanings, McVeigh’s images are pure inventions replete with new understandings."

“We are frequently reminded that we are a nation at war. So should we not know what this war actually looks like?”

"Essential to the art of Martin Creed is the one who experiences it. According to Creed, 'work has meaning when people make it themselves.' This quality of democratic engagement carries through in his decision in 1986 to use a system of numbers to identify his works."

“Like the Chapmans and Caine, there is an irreverence and dark humor that runs throughout Lanina's work. She delivers a punked out, pre-pubescent 'Boschian' universe, one for the morally relativistic set.”

“When work on the wall in the Biennial can simultaneously be found in a Chelsea gallery, as is the case with Seth Price’s wood wall pieces, which are concurrently on view at Friedrich Petzel Gallery, the exhibition feels more like P.S. 1’s Greater New York than a truly national sampling.”

"There is certainly novelty in the artist’s approach as well as in his use of artistic means. He has referenced a variety of concepts and materials—both Western and Non-western—from feng shui, Chinese medicine, and dragons, to gunpowder, roller coasters, and vending machines."

"Despite the infiltration of darkness into his oeuvre, his travels have made him keenly aware of the transformative and spiritual power of light. He writes, 'My paintings are… meant to reflect the shrines and innermost sanctuaries of… those places. Under this inspiration, I depict in my art real and dream places or dark light, of light passages across the bridge between time and timelessness'."

"Operating like a documentary photographer, his images function like a visual archive of locations that are in a state of constant flux. What may be a demolished site one week, may already have several floors of a skeletal shell already emerging from the earth the next."

“The violence in the action of breaking glass, and its shattering, glittering sound, is an inescapable element of the subject matter.”

"Ekatherina S. harnesses and manipulates perceptual reality in her work, using as a foundation startlingly vivid painterly sequences of events or phenomena such as birth, life, sex, nature and loss."