I think that besides that, having a degree in studio art is about the best training a critic can have. For me, anyway, it was about how to understand the difference between intention and fulfillment. It’s a very simple thing. You understand what somebody’s trying to do and whether they’ve managed to do it, I mean in the terms that they set for themselves. That’s aside from whether you like what they’re doing; that’s another part of it, which has to do with your sensibility as a critic. Ken Johnson with Irving Sandler - The Brooklyn Rail
The people that Ulf Lundin portrays in his piece "From Darkness" have been sitting by themselves for half an hour in total darkness. Meanwhile Ulf Lundin, who was in a adjoining room, pulled the trigger without seeing them. So the persons didn't know when the flash would lighten up their faces.
A feedback loop has formed; art is turned into a fixed shell game, moving the same pieces around a limited board. All this work is highly competent, extremely informed, and supremely cerebral. But it ends up part of some mannered International School of Silly Art. -Jerry SaltzNYMag
"Someone asked me once if abstraction was subversive. I did not think so. And I don't think so now. It's subversive in the sense that it makes or helps people to think freely. But it's not trying to bring some other structure down to be seen. It makes its own space or has invented its own space. A space that didn't previously exist." Sean Scully
A lot of the work in “Unpainted” is hard to take—even ugly. Some of it looks like junk. But much of it I love because it shows how fluid and uncanny beauty and form can be. Sit with the work here and you will find you are using your imagination more than your eyes.