…Kotler renders the body's sensory organs as conduits for various types of information. In the artist's words, "they help one transition from the physical world to the spiritual." The mouth, eyes and ears also are central to our ability to externalize our internal worlds. Their inherent intimacy prohibits the wall-mounted, disembodied features from being estranged from their functions and identified as 'objects' with the pointed ease of Duchamp's "Urinal" or Oldenburg's "Clothespin." In fact, they metaphorically transform the space into the internal world of an organism which has the potential to speak with its mouth and listen with its ears. This experience produces tense anticipation and a provocative questioning about how the viewer is, or is not, expected to perform. Kotler turns on its head Merleau-Ponty's premise that viewing is embedded within the body, and is not an activity of the disembodied eye. He does this by presenting the viewer with a disembodied eye to initiate a primarily perceptual, rather than haptic, response.

While different sensory orders converge through the experience of the installed objects, multiple levels of social spaces superimpose one another, and seemingly incongruous forms of recent practices tango. Kotler sets the stage for a dialogue between the gallery as a banal physical container for rarefied secular experience, and as a locale for transformational experience to be described - and perhaps to occur.

Kotler's installation is a meditation on organic human forms, specifically human sensory organs, conceptually evolving from abstract geometric principles. Representational form literally emerges from the Minimalist serial unit of the block, becoming invested with symbolic meaning and something beyond the quotidian. An ear smoothly transitioning from the white surface of the wall narrates a process of the will-to-form as well as a conceptual transition from Minimalism to representational embodiment. The artist's will-to-form is as much his struggle to project a compelling visual idea into an inchoate material through the action of his hands as it is a metaphor for the ineluctable search for meaning through engagement with the phenomenal world… Ann Hirsch