“Two of the most powerful performances included dancer/vocalist Odeya Nini’s The Corridor Between, and choreographer/performer Crystal Sepúlveda’s Rooting Within. …Rooting Within took place along the façade of the house and involved a very visibly pregnant Sepúlveda moving along the entry stairs and up the small hills within which the Sowden House is nestled. Her agility was incredible, and the careful cradling of her stomach as she maneuvered down the tiled steps tied in motherhood—a completely unexpected force—into the many layers of the Sowden House.”

- Lara J. Altunian, LA Dance Chronicle, HomeLA’s PASSAGES Allow Sowden House Spirits to Come Back to Life, Jan. 25th 2019

“Clarissa Tossin emphasizes the indigenous roots of the Mayan Revival architectural style. Her video of Crystal Sepúlveda dancing around Frank Lloyd Wright’s Hollyhock House is a standout.”

- Peter Fischli, New York Times, What to See in New York Galleries This Week, Sept. 13, 2018

In Ch’u Mayaa, the house is rendered as both backdrop and occupied body, captured in Crystal Sepúlveda’s performance against, around, and within it…Sepúlveda expertly harnesses video as a medium to reproduce her own body as architecture, using it to reprogram the private house as public space. It is the space between our own viewing bodies and her multiplicitous selves, depicted on-screen, that enacts this transformation.”

- Virginia Black, The Avery Review, “Place,” “Town,” “To Make a House”: Metonyms of Identity at the Whitney, Sept. 29, 2018

“…the magnificent Hollyhock House vibrates like a living, breathing entity, partnering with Sepúlveda in a tactile expression that merges artist and architecture as one. Her use of space and the way cinematographer Jeremy Glaholt captures the imagery is striking; the effect, hypnotic.”

- Ellen Dostal, Broadway World, BWW Review: Recontextualizing Architecture as Art in Pacific Standard Time LA/LA's CONDEMNED TO BE MODERN, Sept. 15, 2017

“Sepúlveda moves deliberately through the house and gardens, running her hands across its concrete surfaces, inserting her body in various formations along a colonnade, striking yoga-like poses near a fountain or propping herself up in a window alcove. In certain sequences, the footage is edited so that she appears doubled or tripled, as if there are three or four dancers.”

- Sharon Mizota, Los Angeles Times, Nearly a century later, a video artist follows Frank Lloyd Wright's Mayan footsteps, Oct. 15, 2017