“Other artists have worked with the idea of photographing faux architecture space – one thinks of the U.S. artist James Casebere and Germany’s Thomas Demand – but Massey, with his dazzling clarity of light, crisp printing and elegant black and white composition, expresses a yearning for perfection and the rarefied realm of the pure idea, a vision exquisitely distilled.” – Sarah Milroy, The Globe and Mail
“Massey, of course, has been the cognoscenti’s conceptual artist of choice for years” – Bruce Bailey, Weekend Post
“There are alternate realities in Massey’s worlds. At first glance, it’s easy to shrug and move on. But at second glance, there’s always some curiosity to draw you into the work, something that makes you nod and note that first glances are almost always inadequate sustenance.” – Thomas Hirschmann, Weekend Post
“Massey's mesmerizing, gently comic piece is the last one in the exhibition, and somehow the most optimistic. We humans may never be on quite the same wavelength, but trying to come closer, and even watching as we fail, is a glorious part of how we spend our days -- and a fascinating starting point for art.” – Blake Gopnik, The Globe and Mail
“What Ihor Holubizky’s show left in no doubt is Massey’s high gifts as a whittler of models of mind, and a portrayer of the flickering rhetorical games which language, the body, desire and culture play uncreasingly over the field of sentience.” – John Bentley Mays, Canadian Art
“John Massey (like Betty Goodwin) is a poet of bodily sensation and limit, and a remarkable maker of rhetorical figures expressing certain carnal passions, fears and emotional absences that haunt daily life” – John Bentley Mays, Globe and Mail