Dada

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Hyperallergic, 2022

Ela Bittencourt delivers polished prose after visiting Body Is The Ground of My Experience on view at Alexander Gray Associates in 2022. Notably, she praises O’Grady’s hybrid mode of making critique into a pleasurable venture.

Dada risk Western binarism counterculture Olympia's Maid Fluxus black female subjectivity New Museum Black feminism performance art colonialism art history critical race theory cultural criticism photomontage both/and diptych Body is the Ground of My Experience critique photography historiography retrospective Dracula and the Artist erasure/invisibility The Fir-Palm 2022

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Artforum, 2019

For Artforum, Colby Chamberlain articulates the nuanced, critical value of O’Grady’s “haiku diptychs.” In the review, he traces O’Grady’s deconstruction of print language to the post-Modernist lineage of Benjamin, Derrida, and Mallarmé, which she taught at the School of the Visual Arts around the same time the prints were in production.

Iowa Writers Workshop Cutting Out CONYT deconstruction language cultural critique The New York Times Just Above Midtown 2019 Surrealism Jacques Derrida Dada Stéphane Mallarmé modernism School of the Visual Arts representation avant-garde literature Nick Mauss haiku diptychs Cutting Out The New York Times Mlee Daniel Reich Gallery

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