“I found surprising connections between very different works in the exhibition. Several have an ephemeral quality. One striking example is Kathleen Greco’s “In Lieu of Flowers / Carnations.” The materials are listed as “Flower petals, paper.” An ethereal patch of Barbie-pink striations hovers on the paper. Its visual impact evoking both delicacy and boldness, with a wry nod at minimalist and monochromatic traditions. Its conceptual depth unfolds with the title, material and process of creation and raises questions. Are petal pigments fugitive or archival? What compels someone to rub carnation petals over and over? In the context of the 19th century Woodmere mansion, it’s easy to make a connection to Victorians’ use of flowers to convey coded messages.” ~ Sharon Garbe / Artblog
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“Kathleen Greco's partly erased pencil drawing seeks a visual equivalent of John Cage's chance-generated, Zen inspired music.” Mark Jenkins / The Washington Post
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“In My Head, In My Body” Kathleen Greco's black-and-white photograph of a body wrapped in a sheet, as if trying on a burial shroud.” Mark Jenkins / The Washington Post
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My Coral Sculpture was part of the Pod Worlds installation by Margaret and Christine Wertheim in the Central Pavilion in the 2019 Venice Biennale: May You Live In Interesting Times.
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Vertical crochet coral sculpture featured in Artillery Magazine’s Apocalypse Now issue from the Pod World’s installation at the Central Pavilion Venice Biennale.
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“One of the most evocative pieces in The Naked Show—an intriguing but ultimately blinkered ensemble exhibit at InLiquid Gallery—is a photograph that shows not one inch of exposed skin.

Kathleen Greco’s Push captures a pregnant body shrouded in a white sheet: a curve of thigh, a hillock of raised knee, a sense of effort visible in the fabric’s diagonal strain, the sheet knotted at just the place where a baby would emerge.

For the viewer, there’s both exasperation and mystery here: but I want to see! The figure’s hiddenness confounds: is the laboring person seeking privacy from intrusive eyes? Is the sheet a drape of modesty, or one of shame? We’re left to guess—and in the process, to cross-examine our own thirst to look. If we could yank away the curtain and glimpse this person, naked, would we understand?” - Anndee Hochman / The Broad Street Review