"There is an energizing newness to this ‘Delirium Construction,’ a humble and humbling view of humanity that feels authentic. Even poetic... what you take away from the tableau is a kind of peace..."

– Sarah Kaufman, The Washington Post

"...The singers' voices resounded thrillingly... midst of the sea of humanity all around... the ordinary – the imperfect, real human bodies in their astounding variety of shapes, colors and forms – seems like a miracle, and ‘Delirium’ like a gift."  

–Roslyn Sulcas, The New York Times

"... an utter exhilaration of cinematic imagination, a pure high of invention." (on Josephine Decker's "Butter on the Latch", in which Small plays protagonist)

–Richard Brody, The New Yorker

“[Black Sea Hotel’s] painstakingly researched and innovative arrangements of traditional Balkan folks songs are performed with a refined emotion that hits with the magnetic pull of rock-bound sirens. Just tie me to the mast now…” 

- Paul Schomer, National Public Radio

"Small, in particular, is a revelation... This writer would go as far as to call it the best screen performance at Berlinale 2014 and hopes it encourages Small to make further appearances in narrative cinema." 

- Chris O’Neill,  Experimental Conversations

"One of 2014's most spellbinding shows…(Black Sea Hotel) held the crowd rapt... intricate, intoxicating counterpoint, tightly dancing tempos...There’s some irony in the fact that Black Sea Hotel’s often centuries-old repertoire is built on harmony as sophisticated and avant garde as anything being played or sung today... It seems that Small has the most astonishing range of the three: for a natural soprano, it’s stunning to witness how she can get so much power and resonance out of her low register”. 

- Delarue, New York Music Daily

"Small leaves us with a little piece of herself, unguarded and pure, and along with it a new understanding of humanity, if we are open enough to accept it."

–Lindsay Comstock, Eyemazing Magazine

“…[Small’s] true talent is for exploring the grotesque lurking just below that idealized façade."
–Catherine Talese, American Photo Magazine
"A master of fusing unexpected combinations of subjects and emotions into her art, [Small] breathes thought and vitality into an incredibly unusual exploration of life."

–Abigail Wright, Skydiving For Pearls

“The (Tableau) music, composed by Small with Rima Fand, balances the grandeur of the visuals with an understated minimalism that helps the piece build to a surprisingly moving climax and thunderous applause…”
–Chris Kompanek, The Huffington Post

“Small has incredible raw talent”  
– Jerry ​Portwood, NY Press

"...soaring Balkan art-rock anthem... gravitas that that sound infinitely more mighty than just three voices and a mandolin could deliver. Alternatingly sweeping and austere, Hydra blends the Balkan and the Beatlesque.”    

DelarueNew York Music Daily

“… [Black Sea Hotel has] four of the most amazing voices of any New York group, in any style… The group has a reputation for being a sort of punk rock version of  "Le Mystère des Voix Bulgares" - they’ll sing anywhere – but where they really ought to be is at Carnegie Hall.” 

– Alan Young, Lucid Culture

“…the (Tableau) performance brings together models of various races, sizes, and ages…resulting in an engrossing symphony of human experience.” 

–Johnny Simon, The Photoletariat

“(Small's) work is able to stimulate the imagination in the manner of poetry… she enhances the sense that one has entered an alternative universe.” 

–Cara Phillips, Curator, 1000 Words Blog

“In a world that often distances us from feelings of genuine emotion, Small compels us towards speculating on the human condition in all it’s variety, intimacy, and vulnerability.” 

–Lisa Stinner, Curator, Platform Gallery

“Sarah Small has a gift for taking her models to the edge of an inner precipice and then a finger's breadth beyond.” 

–Julian "Outpostted", Stage Nudity

“The audience became part of the work as they analyzed the dynamics between the models – interpreting and absorbing the interactions that were standing still in front of them. Small twisted the anticipatory perception of the viewer as she slowly directed each model with a certain vibrant emotion.” 

–Nicole Delawder, Hudson Valley Weekend

“Alles ist, wenn auch nicht höfisch, so doch weitgehend bürgerlich: Ganz wie in Frankreich zu Zeiten der Madame de Genlis, die die Tableaux Vivants erfunden haben soll zur pädagogischen Belehrung der ihr anvertrauten Schützlinge des Herzogs von Orleans. Die Stimmung im Raum ist gelöst: Die Anwesenheit der nackten Models im Party-Teil des Happenings danach versetzt die Gäste in eine unbeschwerte Lockerheit…”

tr. “Everything is... just as in France in the days of Madame de Genlis, who is said to have invented Tableaux Vivants for the educational instruction of her protégés entrusted to the Duke of Orleans. The mood in the room is relaxed: the presence of nude models during the party portion of the evening put the guests in carefree looseness...” 

–Laura Gehrlach, Welt Kompakt