Calvin Tompkins at The New Yorker:
Now fifty-eight, Rist has the energy and curiosity of an ageless child. “She’s individual and unforgettable,” the critic Jacqueline Burckhardt, one of Rist’s close friends, told me. “And she has developed a completely new video language that warms this cool medium up.” Burckhardt and her business partner, Bice Curiger, documented Rist’s career in the international art magazine Parkett, which they co-founded with others in Zurich in 1984. From the single-channel videos that Rist started making in the eighties, when she was still in college, to the immersive, multichannel installations that she creates today, she has done more to expand the video medium than any artist since the Korean-born visionary Nam June Paik. Rist once wrote that she wanted her video work to be like women’s handbags, with “room in them for everything: painting, technology, language, music, lousy flowing pictures, poetry, commotion, premonitions of death, sex, and friendliness.” If Paik is the founding father of video as an art form, Rist is the disciple who has done the most to bring it into the mainstream of contemporary art.