Richard Speer, Art Critic and Curator based in Portland Oregon, wrote an essay on Teruko Yokoi, premiering in the May 2024 issue. In this essay, Speer weaves themes from the recently concluded solo exhibition at Marlborough New York (Speer also served on panel discussion for the Artist ahead of the vernisage) with a deeper disscussion of the artist's milieu, her academic background, her studios and residences over her career and the dichotomy of her swiss regionality in her late career studio practice juxtaposed against the universality of the themes she painted. Richard expertly reviews her Marlborough show, while shining beams of light into other segments of her body of work yet to be discovered by the masses. The themes in this essay can be summed up in the following excerpt.
Of the Marlborough exhibition and Yokoi's reappearance in New York, Richard writes " It was the first North American show in forty-two years for this artist who studied under Hans Hofmann and Julian Levi in New York, had two solo exhibitions at the Palace of the Legion of Honor in San Francisco, and was a friend of Joan Mitchell, a confidante of Mark Rothko, and the third wife of Sam Francis. While her fall off the New York radar can be attributed in part to her outsider status as an Asian woman in a white, Western, male-dominated milieu, it was also a product of her impulse toward self-sequestration—the same drive, one could argue, that imbued her paintings with their atmosphere of hushed, immaculate beauty."
- Richard Speer, Uncanny Sensations, ARTFORUM, May 2024