“Joseph’s elaborate and entrancing Sideshow indeed moves into the realm of absurdity, especially that focused on society’s approach to gender issues and alienation...Elaborate and entrancing.” —Mary Voelz Chandler, Rocky Mountain News, January 26, 2001. “Even my 11-year-old daughter was impressed...Fortunately, the sexual politics were lost on her; as far as she was concerned, the mannequin parts, silhouettes of strippers, female mud wrestlers and references to cunnilingus were so much visual noise...” —Christine Biederman, Dallas Observer, October 10-16, 2002. “No matter how you struggle to understand Pamela Joseph's traveling fun house, the images will have the last word.” —Amber Nimocks, Ft. Worth Star-Telegram, September 15, 2002. “It’s colorful, noisy and cartoonish, just the kind of thing that would generally appeal to kids. But the predominately feminist them— including body image, violence and exploitation, reality versus illusion, and the pressures of wanting, having, and the juggling it all—will surely be over the heads of young children, and the garish, uninhibited visuals are probably a little too provocative for them as well.” —Karen Rene Merkle, Showcase - Erie, PA, July 18, 2002. “This edgy, freak show of an exhibition proves to be much more than a low-rent thrill ride…Part of Ms. Joseph's aim is to equate the self–contained sideshow with today's museums, which also often focus on the unusual or unique.” —Mike Daniel, The Dallas Morning News, September 27, 2002. “Pamela Joseph’s Sideshow of the Absurd focuses on something that to some is just as frightening as watching a guy eating broken glass: feminism. Through several attractions inspired by sideshow facts and fiction, Joseph visually discusses virginity, pornography, traditional roles for women, the ways that people can be seen as freaks and the differences between advertising and reality.” —Dallas Observer Calendar, September 12-18, 2002. “Everything simultaneously comments on and lampoons the tasks and behaviors traditionally expected of women. A recurring image throughout the show, a woman's head with veins routed into several jars, implies both the never–ending search for the physical idea …and the intellectual prowess some downplay in deference to men.” —Mike Daniel, The Dallas Morning News, September 27, 2002. “Conceptual art like Joseph’s provides anti–elitist cover for the cognoscenti in a time of shrinking audiences and budget crunches. And for this reason i’'s slicker than any carny–show promoter. Go ahead, indulge your baser instincts. Enjoy the show, but don't be a sucker...” —Christine Biederman, Dallas Observer, October 10-16, 2002. Click to read excerpts from the catalogue, including contributions by: Barbara Bloemink, Larry Rivers, Ingrid Schaffner, Buzz Spector, and Gladys Nillson... Opening at the M.A.C., Dallas, TX, September 14, 2002.