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THE BOSTON GLOBE, “Theatrics, dance mesh in Hassabi’s ‘STAGED’”, Thea Singer, March 19, 2017
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ROUTINE MAGAZINE, “Adjusting to Near Stillness”, Lydia Mokdessi, October 9, 2016
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MOUSSE MAGAZINE, “Continuing from Liveness”, Hendrik Folkerts, September 2016
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MOUSSE MAGAZINE, “Shifting Positionalities”, Tim Griffin, September 2016
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PARKETT, “Death Becomes Her: Maria Hassabi at the Museum”, Claire Bishop, June 2016
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SVA ART WRITING, “The Kinetics of Stillness: Maria Hassabi at MoMA”, Jessica Holmes, March 25, 2016
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BLOUIN ARTINFO, “Review: Maria Hassabi at MoMA”, Juliet Helmke, March 18, 2016
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BLOUIN ARTINFO, “Body Art: Maria Hassabi’s MoMA Dancers Discuss ‘Plastic'”, Noelle Bodick, March 15, 2016
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THE NEW YORK TIMES, “‘Plastic,’ at MoMA, Is on the Floor and the Stairs”, Siobhan Burke, March 9, 2016
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ARTFORUM, “Present Tense”, Claudia La Rocco, February 29, 2016
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THE NEW YORK TIMES, “Review: Maria Hassabi’s ‘Plastic’ Sends Dancers Crawling Through MoMA”, Siobhan Burke, February 23, 2016
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SPIKE, “Views: Plastic”, February 2016
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“Maria Hassabi: Glances”, Thomas J. Lax, February 2016
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“Living Contradiction”, Tim Griffin, February 2016
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INTERVIEW, “Maria Hassabi”, Christopher Bollen, February 26, 2016
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TDR, “The Choreography of Anticipation in Maria Hassabi’s ‘PREMIERE'”, Victoria Gray, September 2015
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DAILY BRUIN, “Art Exhibit Review: ‘Plastic'”, Yazmine Mihojevich, March 1, 2015
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PERFORMANCE RESEARCH Volume 19 Issue 3, “Slow Work: Dance’s temporal effort in the visual sphere”, Biba Bell, 2014
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BOMB Magazine, “Scott Lyall and Maria Hassabi”, Lauren Grace Bakst, February 11, 2014
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At over 75-minutes long, PREMIERE insists you confront your 21st century hyper-stimulation. 

THE DANCE ENTHUSIAST, “Impressions of: Maria Hassabi’s ‘Premiere’ at The Kitchen in conjunction with Performa 13”, Erin Bomboy, November 18, 2013
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PREMIERE… was an absorbing study in time distortion, an invitation—or a challenge—to experience dance on a microscopic level… it was a dance made of a million premières, and every time someone maneuvered from crouching to standing, or changed direction, it was presented with the solemnity and the elegance of a major event.

THE NEW YORKER, “A Dance of a Million Premières”, Andrew Boynton, November 15, 2013
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INTERVIEW MAGAZINE, “Maria Hassabi’s Premiere League”, Emily McDermott, November 2013
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The stunning visual composition captured on the first glimpse at PREMIERE is delivered in its fullness to the viewer’s contemplation along the entirety of the piece… Hassabi’s choreography is extreme. It makes the viewer look at those interstices that would not be perceived otherwise.   

PERFORMA MAGAZINE, “PREMIERE: Maria Hassabi’s new instance on dance”, Cristiane Bouger, November 12, 2013
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PREMIERE is quite literally about turning in from the world, about coming to face an audience, an extended first encounter. Luminous, strenuous, severe—as riveting to watch as it is taxing.   

THE NEW YORK TIMES, “One Step Forward, One Step Back: Maria Hassabi’s ‘Premiere,’ Part of Performa 13”, Siobhan Burke, November 11, 2013
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Hassabi is a master of slowness and stillness – her pieces are like art installations brought to life by dancers.   

ARTS JOURNAL, “Moving Pictures”, Deborah Jowitt, November 11, 2013
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Maria Hassabi’s slow, sculptural, exacting work appears in white boxes as often as black: it owes as much to art as it does to dance and theatre. Indeed, [PREMIERE] defines itself in that gap, deriving power and poignancy from the tension between the aesthetic and the theatrical – the art object and the human subject. 

THE FINANCIAL TIMES, “Maria Hassabi, The Kitchen, New York – review”, Apollinaire Scherr, November 10, 2013
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PREMIERE is another fabulously creative, involving, and challenging piece by Hassabi in her continuing exploration of movement, expectation, personal connection, the nature of performance itself, and the endless intricacies of the human mind and body.

THIS WEEK IN NEW YORK, “Maria Hassabi: PREMIERE”, Mark Rifkin, November 7, 2013
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The work—an endurance trial for performers and audience alike—is a knockout.

INFINITE BODY, “Maria Hassabi Premieres ‘PREMIERE’ at The Kitchen”, Eva Yaa Asantewaa, November 7, 2013
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For both choreographers, the key is finding strength from within. It’s extreme.

THE NEW YORK TIMES, “Movement Extremes”, Gia Kourlas, November 1, 2013
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TIME OUT NEW YORK, “Maria Hassabi Unveils ‘PREMIERE’ at The Kitchen”, Gia Kourlas, October 24, 2013
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ART PAPERS, “18 down, 17 up: a pause with Maria Hassabi”, Chris Fitzpatrick, September 2013

This was easily the most striking and beautiful new work I saw in Venice.

ARTFORUM, “Now You See It: Claire Bishop on the Lithuania/Cyprus Pavilion”, Claire Bishop, September 2013

…in the choreographer Maria Hassabi’s ‘living sculptures,’ whose bodies are draped and stretched across the benches of a sports stadium, brilliantly revealed in the terrific joint pavilion for Cyprus and Lithuania.

ARTFORUM, “Bodies That Matter”, Kaelen Wilson-Goldie, June 8, 2013
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…the dancers messed with our desire to know what this art was about, if not what it was worth.

FINANCIAL TIMES, “Street movement”, Apollinaire Scherr, August 3, 2012
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SHOW was a tense, exhausting combination of immersive dance and installation.

ARTFORUM, Nikki Columbus, November 28, 2011
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While her choreography is pretty out there, she definitely pushes the body into interesting and unexpected directions. She asks compelling questions about the meaning of the observed body and about the dynamic and expectations between audience and performer.

CULTUREBOT, “Week(s) in Review”, Andy Horwitz, November 5, 2011
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SHOW is a brilliant, often erotically charged evening-length piece performed by two dynamic, brave dancers unafraid to take risks, involving the audience in unique and, at times, demanding ways.

THIS WEEK IN NEW YORK, “Maria Hassabi: SHOW” Mark Rifkin, November 2011
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ARTFORUM, “Time Traveler”, Claudia La Rocco, September 30, 2010
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The discipline, constraint and austerity and the ultimate resulting poetry of the work was staggering-with an utter minimum of movement and fiercely conceptual drive, Hassabi managed to transcend dance and approach an art-making that was far more steeped in durational performance/installation.

ULTRA, “Maria Hassabi – SoloShow: Society of the Spectacle”, Tim DuRoche, September 15th, 2010
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THE NEW YORK TIMES, “Time to Put Choreography Back on Its Feet”, Gia Kourlas, September 2, 2010
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Hers is a dance that lives between object and movement, a dance that conjures a frame and dares you to resist.

Time-Based Art Festival, “TBA Outlook/Look Out: Maria Hassabi”, Artistic Director Cathy Edwards, August 5, 2010

No matter the art form or the intersection of arts that is on focus, when an artist makes very clear and specific decisions something more extraordinary about the content of the work is revealed.

IDANCA.NET, “Solo and SoloShow: a Diptych by Maria Hassabi”, Cristiane Bouger, June 24, 2010

Her cheeks flush, her nose reddens, her eyes almost spill over, her eyebrows quake. She is absolutely experiencing her experiment. It is beautiful.

THE BROOKLYN RAIL, “Lost in Translation: Maria Hassabi and Robert Steijn”, Erika Eichelberger, May 2010
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Hassabi and Steijn were adrift in their own concentration and in each other’s gazes, with the viewers equally entranced.

ARTINFO, “Can Dance be Performance Art?”, Blythe Sheldon, April 21, 2010
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Robert and Maria covers about 6 sq ft of ground – and lifetimes of feeling. … If Eadweard Muybridge had photographed not a horse’s gallop but feelings growing, shrinking and wavering across body, face and the space between two people, it might have looked like this.

FINANCIAL TIMES, “Robert and Maria, Danspace Project, New York”, Apollinaire Scherr, April 20 2010
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“Robert and Maria” is a dance by degrees, in which the inching closer of angled torsos or the slow joining of hands becomes an act of rich drama… It’s rare to get such an unadorned window into the world of two strangers.

THE NEW YORK TIMES, “He Gazed, She Gazed, and They Danced”, Claudia La Rocco, April 19, 2010
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TIME OUT NEW YORK, “Robert and Maria: Two sides of a dance”, Gia Kourlas, Apr 14-22, 2010
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Staggering genius…like the British art duo Gilbert & George…Hassabi eliminated the distinction between artist and art.

OUTWITHMARY.COM, “…Staggering Genius”, Mary Barone, November 19, 2009
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…a great collision of grace, tension, grotesqueness, seduction and pain…

BEE STING BROSE, “Maria Hassabi, SoloShow”, Julia Oldham, November 16, 2009
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The work lasts about an hour of clock time–quite a testament to Hassabi’s vigor and determination–but you might find yourself completely losing track of time.

INFINITEBODY, “Hassabi’s collage”, Eva Yaa Asantewaa, November 13, 2009
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THE NEW YORK TIMES, “Playing Connect the Dots, From Aphrodite to Lil’ Kim”, Gia Kourlas, November 13, 2009
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Hassabi makes her way around the platform with awe-inspiring skill and dexterity, her muscles and veins bulging as her body shakes, often held slightly above the platform by hands that leave disappearing sweat prints on the dark surface.

THIS WEEK IN NEW YORK, “Maria Hassabi: SoloShow”, November 12, 2009
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Ms. Hassabi’s body is astounding…

THE NEW YORK TIMES, “Shedding a Carpet Skin, With Plenty of Perspiration”, Gia Kourlas, October 2, 2009
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Gazing at this exquisitely designed living sculpture, you also feel your own body straining with Hassabi, and in the slow friction between these two views, mysterious emotions ignite.

THE VILLAGE VOICE, “Maria Hassabi Cuts a Rug”, Deborah Jowitt, October 2, 2009
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SOLO…[is] really a very different kind of pas de deux … it’s a thrill watching what Hassabi the dancer is capable of.

THIS WEEK IN NEW YORK, “Maria Hassabi: Solo”, September 29, 2009
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In her GLORIA (2007) Ms. Hassabi, born in Cyprus, created a powerfully theatrical environment … perhaps she will transport us again.

THE NEW YORK TIMES, “The Week Ahead”, Roslyn Sulcas, September 25, 2009
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…smart and subversive Maria Hassabi…

THE NEW YORK TIMES, “Leaps, Bounds, Birthdays, Despite Belt Tightening”, Claudia La Rocco, September 9, 2009
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Maria Hassabi’s “Come in my house I want to hurt you!” continued her exploration of the female body as moving sculpture, objectified yet powerful.

THE NEW YORK TIMES, “Sometimes It’s Darkness, Sometimes It’s Babble”, Claudia La Rocco, October 10, 2008
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The best of 2007…duet for two beauties who never touch…

TIME OUT NEW YORK, “The best of 2007”, Gia Kourlas, December 27, 2007 – January 2, 2008
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Maria Hassabi and Hristoula Harakas-two of the most exciting contemporary dance artists in New York-exist alone together in Gloria, Hassabi’s latest work…Both dancers and viewers endure harsh exposure…

DanceMagazine.com, Eva Yaa Asantewaa, December 2007
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A piece of pure theater in which the cumulative effect of their disaffected, sculptural poses was as compelling as it was mysterious.

THE NEW YORK TIMES, “Spare Spaces, Bare Bulbs, Wonderful Works”, Roslyn Sulcas, December 23, 2007
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A double image of two intrepid dancers. The performers are arresting to watch…

THE VILLAGE VOICE, “Split Screen Live: Maria Hassabi’s Gloria”, Deborah Jowitt, November 25th, 2007
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Set to the sounds of cars honking and cell phones ringing, Gloria is a slow, haunting walk through a familiar city.

FlavorPill.com, “Maria Hassabi: Gloria”, Druschel Guida, November 2007
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The boundaries between dance, artwork, installation and performance are subtly blurred… every sculptural position suggests unverifiable meaning.

THE NEW YORK TIMES, “Dance in Review: Gloria”, Roslyn Sulcas, November 10, 2007
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TIME OUT NEW YORK, “Gloria days”, Gia Kourlas, November 8 – 14, 2007
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…these captivating performers you want to watch at any given moment.

THE NEW YORK TIMES, Claudia La Rocco, November 2, 2007
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Hassabi works with an eye catching movement vocabulary

THE NEW YORKER, April 2006

“The dancers movement is eye-popping, pedestrian, and traffic stopping.”

GAY CITY NEWS, “Grim Visage”, Lori Oritz, April 2006
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THE NEW YORK TIMES, “In a Confluence of Style and Emotion, Finding the Art of Alienation”, John Rockwell, April 15, 2006
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THE NEW YORK TIMES, Claudia La Rocco, April 7, 2006
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TIME OUT NEW YORK, “25 Ace New Yorkers to keep an eye on”, Gia Kourlas, January 19-25, 2006
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