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The subversive aspect in Collier Schorr's work is also reflected in her selection for Freeway Balconies. For instance, Claudia Funke of the taz writes: "Parody, distortion, and irony, poses and costumes are the means implemented both in the private and public context. The artists of the show use these means to question social norms and to facilitate new ways of seeing things that seem given, giving rise to a political dimension." For Tim Ackermann of the Welt am Sonntag, the exhibition by the "hippest photographer to date" is like a "road trip through American counter-culture." And for Jens Hinrichsen of the Tagesspiegel, the show reveals the "brittle identities of a superpower at war." In their review Nicole Büsing and Heiko Klaas of the Berliner Morgenpost stress the critical image of America conveyed by the broad group exhibition. Schorr portrays "her country as a land of inner turmoil caught in a deep identity crisis."
"Wonderfully untidy" is how Christiane Meixner of Zitty describes the show, which to her mind centers chiefly around "prescribed identity and rebellious revolt." For Meixner, it is "a curatorial attempt that is both subjective and well-done." "A show as self-portrait?" Elfi Kreis of the Kunstzeitung asks whether this experiment can succeed and concludes that it can, "if the curator hands the scepter over to the artist." But the "complex stories" the exhibition tells "can't be simply consumed. 'Freeway Balconies' consists of a web of intertwined avenues of thought, and it's well worth the viewer's effort to untangle them." And in art, Elke Buhr sums up her impression of the artist curator's "radically subjective selection": "Schorr combines the young generation with the classics and makes the group show at the Deutsche Guggenheim into a true gesamtkunstwerk."
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