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拍品專文
"From the point at which I was making work out of objects I became interested in how, actually, under which circumstances people treat other people like objects. I became interested in psychopaths in particular, because they objectify people in order to manipulate them. By extension they represent the extreme embodiment of a culture's proclivities; so psychopathic behavior provides useful highlighted models to use in search of cultural norms." (C. Noland, quoted in M. Cone, Journal of Contemporary Art, Fall/Winter 1990)
"Noland, not Barney, Hirst, or Gonzalez-Torres, is the crucial link between last 1980's commodity art and much that has followed; she is the portal through which enormous amounts of appropriational, political and compositional notions pass. So mercurial, so fierce, and originally poetic is she that I think of her as our Rimbaud." (J. Saltz, "Invasion of the Sculpture Snatchers", The Village Voice, May 12, 2006)
"Noland, not Barney, Hirst, or Gonzalez-Torres, is the crucial link between last 1980's commodity art and much that has followed; she is the portal through which enormous amounts of appropriational, political and compositional notions pass. So mercurial, so fierce, and originally poetic is she that I think of her as our Rimbaud." (J. Saltz, "Invasion of the Sculpture Snatchers", The Village Voice, May 12, 2006)