Thea Herold, "In der Werkstatt," Tagesspiegel, Berlin, May 10, 2008.

If there is someone who could know what endlessly fascinating quality of thought could be possibly generated during the study of the relationships between world, mind, body and soul, then it is Warren Neidich. At the Cooper Union, New York, he was seen as a professor with rhetorical reputation. Indeed, he is also aware of the fact that nobody could ever completely explain the potentials of fantasy in the form of neuronal impulseswhich are "willing" to become art. However, he takes the risk at the Magnus Müller gallery (Weydinger Str. 10, until May 17th), investigating how, in other time periods, artists painted such an ephemeral physical phenomenon as the rainbow. He first matches the colour mixtures of a section of a rainbow represented in an historical landscape painting and then presents to the visitors the tools of his experiments: wide brushes with colour stripes. All optical, historical and descriptive knowledge is useless in comparison with his own rhetorical description of the work, lifting his arms in a virtuosic action to express what he refers to as a "performative pull". No description could ever portray him for those who have never seen him before! Fortunately, Warren Neidich Neidich comes to the gallery from time to time. The enormous installation is a huge toy. The brushes are gentled tools. In the backroom the visitor will find a wall with mirrors and words written with neon lights. All together, it is a mixture of a long considered artistic process. However, nothing of it outshines the artist's un-sayable empathy for his matter, being reflected in the eye of the artist.