The Grid
ArtForum, 2008 [READ]
By Jan Avgikos
"The looming terror of nuclear blasts plays from one picture to the next and the next, appearing at once deadly serious, deeply ironic, and pure slapstick... "
LA Times, 2007 [READ]
By Christopher Knight
"In this context, the voice of Donald H. Rumsfeld echoes in a receding memory: 'As we know, there are known knowns. There are things we know we know. We also know there are known unknowns. That is to say...' Suddenly Schrodinger's cat snaps into register."
ArtForum Review, 2004 [READ]
By Christopher Miles
"...doubt-laced attempts to construct something enduring, substantial, meaningful, and grand from the humble and ephemeral material and fleeting acts of humdrum existence..."
Hirsch Perlman Saved From Avalanche, 2003 [READ]
By Benjamin Weissman
Chicago Reader, 2002 [READ]
By Fred Camper
"The room feels sealed off - and indeed no one but Perlman had been in it for some time until last year when he was required to admit his landlord and a building inspector..."
The Chicago Tribune, 2002 [READ]
By Alan G. Artner
"Every stage of the project, from the making of a primitive pinhole camera to the building of subjects and printing of images..."
LA Times, 2001 [READ]
By David Pagel
"From the outside, everything looked normal. Even when visitors entered the residence, there was no reason to think that anything unusual was going on. But down-stairs, behind a closed door at the end of a hall, something strange was taking place..."
Art Issues, 2001 [READ]
By Carmine Lannacone
"The impulse is as old as the myth of Pygomalion: to make a sculpture that comes to life..."
Art in America, 1997 [READ]
By Susan Hapgood
"The conversations have the recognizable intonation, expression, and gesture of dialogue, but what the actors say does not make obvious sense..."
Sculpture Magazine, 1996 [READ]
By Brad Killam
"Do we consistently manipulate conversations for our own ends.. "
Frieze Magazine, 1996 [READ]
By David Greene
"Perlman's moral mission is to make himself and his collaborators look stupid to prove how stupid it all is..."
ArtForum Review, 1994 [READ]
By Christian Kravagna
"Hirsch Perlman's first solo exhibition in Austria contained only three works, each consisting of a video accompanied by a framed..."
ArtForum Review, 1993 [READ]
By Lois Nesbitt
"...While we are told exactly how to proceed, the motives for interrogation are never discussed."
FlashArt, 1992 [READ]
By Jose Lebrero Stals
"The exhibition functions as a labyrinth wherein the spectator repeatedly finds himself face to face with things generic..."
ArtForum Review, 1991 [READ]
By Sabine Vogel
"Hirsch Perlman's previous work addressed the relationship between language and image within the history of architecture..."
Arts Magazine, 1990 [READ]
By Marueen P Sherlock
"Deploying the allegory of courtroom semantics, he exposes the posturing of art which, like the law, requires regulating conventions..."
Arts Magazine, 1989 [READ]
By Kathryn Hixson
"In his ruminations on architectural photography, Perlman implies that the driving Modernist fear that 'objective' photographic representation would make subjective painting obsolete is simply wrong..."
Frieze Magazine, 1994 [READ]
By Laurie Palmer
"You're going to find out sooner or later so I may as well tell you now....