« Grebmeier Forget has worked previously with performances mediated through mirrors, Skype, projections, Photobooth images, or in the positioning of her body in relation to the audience. On screen and off, she often uses embellishments like makeup, glitter, children’s decorations, clothing, and packaged food products. She adorns, prepares, and presents her body as something to be consumed (visually, literally, metaphorically), but also as something that is never fully accessible or that performs an excess of adornment to a point where desirability begins to erode. […] While she is clearly drawing upon histories of feminist performance art and its emphasis on the presence of the active, embodied female subject who resists or troubles the fetishizing gaze, Grebmeier Forget’s performances also build upon this history to address the ways that gendered subjectivities have more recently been performed by/for/with new technologies. With her ongoing use of Photobooth screen grabs in this (SUITE) and other performances, Grebmeier Forget references the selfie, the YouTube celebrity, or the “camgirl,”and connects to broader conversations around how we perform our selves online. »
BURISCH, Nicole, « Never Enough / Jamais Assez: on documentation, proximity, and Nadège Grebmeier Forget’s SUITE from the series One on one’s for so-called fans », CORE Program catalog, published by the Glassell School of Art and the Museum of Fine Arts – Huston, 2015, p. 11-21.