1. Tornado (2000-2010) via Brooklyn Rail: “The sight of his lean frame racing towards the twisters is at once ridiculous and hysterical—blithe qualities that quickly give way to gravitas as the artist physically enters the eye of the storm. Inside, chaos reigns and Alÿs, unprotected except for his handheld camera, is enveloped and pummeled by flying bits of sand, dust and dirt.”
On the “hitting” video in Songs of the Dragons: “Well, honestly, sometimes things just pop into my head. They don’t really come out of any logic, and I make sense of them after the fact. The hitting video now makes sense to me, but when I first thought of it, it just popped into my head as the right way to begin the show… To get hit in the face is something so deeply personal and insulting, and just so horrifying. And I got hit in the face for about 20 minutes. After the fact, when I was thinking about how it fit into the show, I felt like it was really a play on Asian self-hatred.”
“For each of her recent photographic projects, she has immersed herself in one of New York’s myriad cultural scenes, observing and adopting its codes of dress, behavior and, presumably, states of mind, then basically living its life for days or even months. In short, the kind of transformations that Cindy Sherman enacts in the privacy of the studio, Ms. Lee takes to the street…”
“James Luna often uses his body as a means to critique the objectification of Native American cultures in Western museum and cultural displays…
“For the performance piece, Luna donned a loincloth and lay motionless on a bed of sand in a glass museum exhibition case. Luna remained on exhibit for several days… Labels surrounding the artist’s body identified his name and commented on the scars on his body, attributing them to ‘excessive drinking.’ …
“Luna also called attention to a tendency in Western museum displays to present Native American cultures as extinct cultural forms.”
“Let’s spread false news that produce real events’’. 
“language is the site of political struggle and the derisory laughter born of irony is one of the most potent weapons a social movement has, humiliating the ‘‘powerful’’ and inspiring the ‘‘powerless’’.”
Drawings # 65 Tools Section from It Doesn’t Matter, 2005–07.
“Often enlisting entire communities, Czech artist Kateřina Šedá’s projects raise questions about the pros and cons of an artistic practice that purports to be for the good of its participants.” Read more in the Sept. 2012 issue of Frieze.