"Hassinger’s earliest uses of fibre engage more directly with the rhetoric of post-minimalism than they do with that of fibre art, though they already exhibit a more explicit bite than either. Her 'Untitled' employs found, industrial material — nautical rope salvaged from a shipyard — and cuts and organises it so as to amplify its materiality while using its heft and girth to infringe upon the space of the room. 'Untitled' redistributes space and asks the viewer to navigate the sculpture based on its imposing scale.... ['Untitled'] addresses the viewer through the scale of the body and affords fibre an authority and autonomy that seem to deny any sense of its historical humility. Hung from the ceiling, it feels threatening; it alternates between an invitation to interact with it as a series of levers and a potential menace, as a kind of torture device of nooses. Placed on the floor, it obstructs and commands attention as a barrier." - Elyse Speaks (Speaks, Elyse. "Deliberate Entanglements: Hand and Place in the Early Work of Maren Hassinger." Art History, 24 September 2026, https://doi.org/10.1093/arthis/ulag031.)