“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