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| Slant MagazineClayton DillardSarah Vos creates a nearly mockumentary effect that neither fully lampoons nor endorses contemporary standards for the art world’s political correctness but lands at a decidedly more ambivalent point. |
| Los Angeles TimesGary GoldsteinKudos to the Stedelijk for opening itself up to such firsthand scrutiny and to Vos for spotlighting such a vastly relevant topic in a way that’s both insightful and entertaining. |
| The New York TimesLisa KennedyWith access to behind-the-scenes processes, the documentary can be instructive about the work of changing legacy institutions, but also wincingly cautionary as Wolfs, his administrators and curators get tangled up in numbers and nomenclature. |