“Much of Smith’s work reflects her deep reverence for ordinary objects and the poetry they contain. ‘I’m very talismanic,” Smith said. “But it’s idiosyncratic. … When I’m working, what’s in my close proximity might be random, or it might be chosen. They might be of no particular calculable value, but they’re infinitely precious. They contain something of the owner. I find something beautiful about that.”

Amanda Petrusich, The New Yorker, January 17, 2019

Fluid State inspires viewers to think about the “invisible industry” that transports 90 percent of the world’s goods by sea. ‘People assume it all happens naturally, or automatically,’ he said, pointing to a detailed black-ink portrait of a fellow hard-hatted crew member standing on the deck of a ship. ‘But there are real people’s lives behind everything. Without them, globalization is just an idea.’

Jessica Zack, San Francisco Chronicle, June 6, 2018

“The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions ‘restructure,’ ‘return to their core missions’ and ‘redefine their priorities’ in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.”

Sarah Hotchkiss, KQED, September 20, 2018

‘You’ll hear a bird from 1981 and a bird from 2018,’ says Morgan, who appreciates the play of time and distance in this atmospheric work. ‘Some people will come seeking this out, some people will stumble upon it, and some will walk by and never know it’s here.’

Jesse Hamlin, San Francisco Chronicle, January 15, 2018