Time Out says
Fifteen years of the German artist’s work is on display in this mini-survey, a greatest-hits compilation for someone who professes not to be in the hit-making business. Distrustful of the very idea of being an artist as it’s generally understood, and wary, even, of meaning itself, Von Bonin makes her aversions concrete in works that resist interpretation, though they are notable for their use of textiles, especially in various enlarged plush toy sculptures that have taken form as dogs and octopuses. Is a recognizable style consistent with Von Bonin’s claimed nihilism? Well as the saying goes, consistency is the hobgoblin of little minds.