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Droitcur: quirky innocence
Time Out: Unabashed Kitsch
Roberta Smith: woman-child imagination
Two Artforum articles of length act as antipodal oscillation asserting Kilimnick's content,
Hainley's citing Kilminik's siting as IED mirrors in the halls of the rich, ready to shatter jewel's broken glass into their visages caught reflected in the decadence, as a giant "fuck-you" to the rich, taking time to amass evidence of and against that who Hainley, in deference, refers, 18 years prior, Rhonda Lieberman's 1994 cover confoundment, in who's (Lieberman's) initial assumption of critique is continually railroaded by Kilimnick herself's brick wall amassed of unmitigated love for everything, including the blank facades of wealth and decor, and evidence of provided.
See too: Katherine Bernhardt at Venus Over Manhattan, Simon Denny at MoMA PS1
