Gerz' approach has led him to utilize indistinct photographs, downright fuzzy, and a hermetic language in order to establish a better quality of communication between people and things. The very contradiction apparent within this approach is the result of the insight that language and everyday images, thoroughly compromised by the media, have only a mediocre capacity for transmitting an authentic experience. … In order to achieve this, Gerz took up a poetic prose in his texts, which was fairly simple in the beginning, growing more enigmatic and complex until near pure poetry by 1979. There are sublime examples in the small poems in haiku form from the Fuji Yama Series (1979) or in his admirable De l'art (1982-1983), a masterpiece of symbolic condensation.

Anne Dagbert 1989