'Place (2011–13) invokes the 1914 painting Potsdamer Platz by Ernst Ludwig Kirchner, whose scene of urban solitude and prostitution is re-envisioned as sleek slices of computer-generated imagery. Ostoya has tamed Kirchner’s gestures of agitated subjectivity into something more coldly detached, elevating them to a higher mathematics of alienation. Part of the same Disclosures series, Work (2011–13) takes as its touchstone John Heartfield’s photomontage Spitzenprodukte des Kapitalismus (The Finest Products of Capitalism, 1932), which features an unemployed man with a sign around his neck reading ‘Nehme jede Arbeit an!’ (Will Take any Work!). Like Heartfield’s, Ostoya’s male protagonist treads on the lace train of a luxurious wedding dress modelled by a female mannequin: both figures embody the obverse of capitalist reality. However, Ostoya’s levelling paintbrush has compressed the space of the photomontage onto the same plane; not even the dialectical tension between these figures can rescue them from visual conflation.' Ara H. Merjian, Frieze, 2014 

'Anna Ostoya’s impressive, conceptually multipronged and curiously self-reflexive exhibition includes a pair of paintings based on the same snapshot of two men kissing each other on the mouth. A disarming, autobiographical wall text by Ms. Ostoya titled Disclosures (Text) coyly identifies the men only as an eminent art historian and a distinguished artist. Art-world insiders will recognize them as the Marxist critic Benjamin H. D. Buchloh, who often advocates for artists affiliated with Marian Goodman Gallery, and the conceptualist Lawrence Weiner, who regularly exhibits at that gallery. Ms. Ostoya thus cheekily satirizes alpha male bonding and an unholy alliance between criticism and the art market. Two other large paintings also made with a remarkably skillful, sensuous touch allude to disjunctions of modern life. The show also includes sculptures by Barbara Leoniak: all-white human heads disintegrating into spiraling ribbons. Ms. Ostoya’s introductory text vividly portrays Ms. Leoniak as a beloved mentor and recalcitrant bohemian.' Ken Johnson, New York Times, 2013 

Bortolami: Disclosures, 3 May – 22 Jun 2013; Anna Ostoya: Disclosures (Text), 2013