Megan Van Wagoner

Thinking Small Has Diminishing Returns
Michael O'Sullivan, Washington Post (May 5, 2006)

"In only some cases is this true.

Take, for instance, Megan Van Wagoner's "Personal Wealth." The unimposing lump of aluminum -- cast from a teabag, if my eyes don't deceive me -- is about as far from Claes Oldenburg and his oversize household objects as possible. Yet something about its baseness draws our attention and, more important, holds our focus, precisely because it doesn't demand it. Its stillness is its virtue, and its humility its greatest strength."
 

Best Baltimore Exhibitions: SIMPLICITY
Jack Livingston, Peek Reviews Online (March 7, 2000)

"This tight, humorous and very deft show left all the institute boys in the dust. ...'Simplicity' had identity, cohesion and style.  The show's invites, graphics, and banner were great. Good artists statements too. ... We can only hope the gals stay in town for a while instead of charging off to New York."
 

Where the Streets Have No Name
Jennifer Michaliski, Baltimore Alternative (September 21, 1999)

"Whatever your reaction, the eggs, which Van Wagoner describes as symbolizing desire and fragility, do leave a sort of pregnant pause in the room, a sense of issues left hanging, tension, perhaps a sense of walking on eggshells.  Even in the lightest of interpretations, the eggs are issues, ideas, entities that constantly float and surround us - fragile ones at that - and you will feel compelled to protect or harm them, which in itself is an interesting commentary on human nature, whichever way you crack it."
 

Exhibits at School 33 Art Center Run the Gamut
Mike Giuliano, City Paper (September 22, 1999)

"Also upstairs is an installation by Megan Van Wagoner in which eggs - a large number of them - are suspended from the ceiling by near invisible monofilament.  Walking through this space is like being inside a Magritte painting, as the mundane eggs appear abnormal to their elevation.  The overall effect isn't as overwhelming as one might imagine, but it's effective enough to make the walk through the exhibit worthwhile.  Whatever you make of this installation, there's no egg on the artist's face."
 

Student exhibition a quirky but enjoyable show
Steven Litt, Plain Dealer Art Critic  (March 2, 1996)

"Megan Van Wagoner's "Electric Bosom" focuses similar attention on a female body part that looms large, figuratively speaking, in the popular imagination. Her work consists of an antique massage gadget, which, when mounted on the gallery wall, resembles a pair of breasts.  With the flick of a switch, the "breasts" vibrate with a loud, repellent hum, which is van Wagoner's (sic) clever way of rebuking viewers curious enough to investigate her work closely. "Electric Bosom"  is a one-liner that works."