Betsy Huete, ‘When Murk Leads to Clarity: Maggie Hills’ Paintings‘, Glasstire, September 23, 2019

ACME, The Fire Station Project, 2013

Museum of Fine Arts Houston, Core Artists and Critics in Residence, 2008

Michele Grabner, ‘Critics’ Picks: Maggie Hills: Optical Project’, Artforum, October 2008,

Julie Penfold, ‘Dream as if your life depends on it’ at the Vardy Gallery, 24 Hour Museum, 24 September 2004.

Mark Evans, ‘Billboards of Loneliness’, Metro, October 2004

Christoph Gröner, ‘Perlentauchen im Berliner Off’, http://www.kulturkueche.de, 2004

Alexander Dumbadze, ‘Material Process Memory’, TFAA, 1999

David Pagel, ‘Artifice and Faking it are Not the Same Thing’, Core Catalogue, MFAH, 1999

Bill Davenport, ‘Maggie Hills and Paul Whiting at Robert McClain & Co.’, Artlies, Autumn 1999

Shaila Dewain, ‘Remaining Calm’, Houston Press, April 1999

Lane Relyea, ‘The Ins and Outs of this years Core Show’, Core catalogue, MFAH, 1998


Bill Davenport, ‘Maggie Hills, Paul Whiting, Robert McClain & Co., Houston’, Artlies, Summer 1999

“Hills’ works invite then deny the aesthetic enjoyment of conventionally picturesque images. Ambivalent about the desirability of paintings which present authentic beauty, Hills neatly side steps the problem by painting, not beautiful pictures of nature, but pictures of pictures of nature….If this work was displayed in the average watercolour society roundup, it would stand out for its large scale and mechanical execution, rather than its prettiness and vacancy. The work has a wallpaper-like blandness at odds with the intense, meticulous labor of its manufacture: nothing this pleasant and innocuous can be true. …[however, the] sweet romantic haze is only half ironic. It is as Hills has devised a way to paint a pretty landscape without losing her avant-garde credibility.”

Shaila Dewan, ‘Remaining Calm’, Houston Press, 14 August, 1999

“Hills’ renditions are as thin and honest as the images are banal; the bare canvas shows as do breakdowns in Hills’s faithfulness to the image: fuckups, drips, and tiny hiccups – like when wrinkled paper gets run through the copy machine…[the work] seems ironically tranquil, told in the vacant yet faintly desperate tone of a Joan Didier novel.”

“Hills’ careful, elegant attempts to represent foliage…dissolve into watery, illegible patches, mistakes about which the painter seems entirely unconcerned, the way one is unconcerned with how one’s hair looks when one is camping.”