‘Great art galleries have now become symbols of national prestige and cultural identity. The minimal spaces, the ubiquitous white walls, the steel and plate glass all emphasise their roles as major institutions. Concealed within Kelly’s uncanny replicas are a number of CCTV cameras which, with the stealth of Big Brother’s all-seeing eye, silently probe the gallery space around them. Transmitting images back to monitors fixed to the buildings the role of viewer and the viewed is disconcertingly blurred.’
- Sue Hubbard on John Kelly, for Agnew’s, 2010