The New Yorker, January 2003

The mythology that leaps from these images is purely personal, thus
basically obscure to the viewer, but that doesn't detract from this
exhuberant melding of Yves Tanguy's surrealistic landscapes and
Japanese anime. Only after an intensive study of Hooker's first New York
show does it become clear that a photographic image of the Berlin Wall
is embedded in these digitally manipulated, Spirograph-on-a-grid
panoramas. The results are loopily beautiful and hearken back to the
waterfalls and ruins of Frederick Church's epics while looking towards a
future at the edge of Hooker's own reality.
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