Little by little, a haze invades indeterminate landscapes, the bare forests all look alike, roads glossy with rain mark an uncertain furrow toward unknown destinations, mountains disappear before quiet seas, clouds build up, repetitive and dull in their sameness. Where are we? No one knows. It is the hight of anonymity. Nothingness has invaded the Earth. Since 1969, when he began making works of art composed of black and white photographs accompanied by a text... Jochen Gerz has never departed from this will to step back from the factual events of society. This is all the more noticeable in these works in that, in the critical commentaries in art journals or in a number of his performances, there is a radical denunciation of the way culture functions in Occidental society.

Anne Dagbert,1986

Gerz is trying to work against the myth of the artist. Unreflective acceptance and mechanical, linear use of language and images result in their destruction as a form of communication, similar to what Vilém Flusser analysed and described as the fate of technical pictures. Here, two positions meet that are trying to reach related, perhaps even analogous goals. Their common ground is doubt and scepticism about thing, things that are and yet are not, and the way things purport to be.

Andreas Vowinkel 1992