‘The Untitled (Chinese Paintings) are possessed of the unbridled strident visual poetry that defines Schnabel’s best work. In these paintings one recognizes a range of pictorial elements that are quintessentially Schnabel’s – grandiloquent, Whitmanic gestures that vector and veer through the pictorial space.’ (David Moos, ‘A False Sense of Intimacy’, in David Moos and Porfirio Munoz, eds., Julian Schnabel: Untitled (Chinese Paintings), London, 2009, n.p.)