Domenick Ammirati at Artforum:
In 2009, Sagri’s use of the loop suggested specific referents very much at hand. In part, it seemed a commentary on the art world’s difficulty in accommodating performance. A convention of video art was transposed to a living, breathing performer, as if to mockingly anticipate the work’s reuptake as documentation in the white cube. At the same time, while it seemed to wryly allude to the postmillennial art world’s romance with the ’70s, and to stage a dark burlesque of labor conditions, the loop was a clear attempt to reckon with digital technology’s pervasive influence at that historical moment. This was the dawn of popularized streaming video: YouTube launched in 2005; Netflix and PornHub began streaming in 2007. Hence the foregrounding in Do Jaguar of the iPod as the device on which the audio component of the piece is stored; hence not only the loop but also the glitch, an accidental mini-loop or inadvertent fast-forward, as a choreographic riff on postindustrial labor and the erratic recursions of immaterial gig economics. Artists such as Ryan Trecartin and Lizzie Fitch were mining this same vein in video work, but Sagri was a key adapter of these concerns to live modes.