—Madeline Weisburg, Brooklyn Rail

In Part is an unconventional book. Ault offers no framing prologue, no view of the past from the present. (Instead, a third-person introduction is supplied by critic Lucy Lippard, a veteran of the Group Material era.) . . . It is also a book of art writing without images. This lack of pictures spotlights In Part’s idiosyncratic design, which in turn expresses a central component of Ault’s sensibility. The book contains many instances of a paragraph facing a fully blank page . . . The space surrounding the text excerpts is . .  hospitable to imagination. An enterprise like In Part is always a form of self-portraiture; in Ault’s hand it’s also a mirror.

The final words of In Part provide an invitation to reinscribe our histories today and reclaim our desires. Musing about the past and the future, Ault invokes David Wojnarowicz . . . “My search takes the idiosyncratic route . . . to articulate what it is about David Wojnarowicz that moves me so,” she writes. “I don’t know what I’m looking for. I want to let go of time, lose myself in discovery. . . . David’s voice paves the path, arousing trust and warmth for a man I never met, a man whose soulfulness revolutionizes.” This poetic message typifies Ault’s hybrid approach. At their best, her essays couple the insight and intellect of critical writing with the affective immediacy of art.

—Robert Atkins, Art in America