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"The exhibition seems to ask, what happens when we do not check our worst instincts?" writes Jonas Albro in Arte Fuse.

"Miceli’s interest in what she calls 'impenetrable' landscapes raises questions not only about photography's literal and figurative stakes but also its technical and philosophical capacities," says Louis Bury about Projeto Chernobyl. 

"It’s a haunting and fitting disjunction for trying to comprehend such severe, man-made devastation," says The New York Times.