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“(T)he difficulty with which an adult represents his own childhood--let alone another's--is the running gag of Tom Palazzolo's Caligari's Cure. In Palazzolo's cosmos, the kids are even played by grownups; he's recast incidents from his Catholic midwestern working-class boyhood with personnel recruited from the Chicago Art Institute.... The brazen, comic-book mise-en-scène resembles that of Red Grooms or the Kuchars; the tacky, off-kilter sets--houses as ostentatiously ramshackled as Frank Stella's recent sculpture, wallpaper like Lucas Samaras's quilt-shard collages, decrepit furniture painted pale pink or dusty green--are a kind of arty-idiot Toonerville Trolley Americana.” –J. Hoberman (Village Voice)