"Whenever Yesim Akdeniz Graf touches social history, gender, Hollywood and architecture in her promiscuous flight of butterflies, she is not up to make everything equal, she doesn't want to dissolve borders.

The mutual fertilization of the just mentioned is rather her gentle wish. In Yesim Akdeniz Graf's mind maybe Marx dances at the glittering ball and changes once in a while his dancing partner. This time it's as usual Ms. Woolf or Mr. Passoloni, then the church again or just one of all the numerous present actresses, rejuvenating him with their pirouettes." (Manuel Graf)