"The overall effect is something of Martha Stewart meets Vogue and Architectural Digest in the Twilight Zone. Strangely lit, often moodily dark and largely out of focus images ... Almost hypnotic in their velvety simplicity ...
 
When we learn that Houston-Montgomery took these images with a simple camera and a handheld flashlight on the only dollhouse-free surface of his entire apartment - his bed - it makes the work still more compelling ...
 
Just recalling the work of some notorious boundary crossers - Duchamp's notorious "R. Mutt" urinal, Rauchenberg's controversial "Bed" painting, Robert Smithson's wildly inaccessible Spiral Jetty - is sufficient reminder that many of the very best works of art, and their corresponding movements, are the products of thinking about things in a totally different way, and then following that thinking to it's ultimate conclusion.
 
Houston-Montgomery has crossed many boundaries in his own personal life, so it should come as no surprise that his artwork does the same, or that he chose photography to be a part of that vehicle. Photography is by its very nature a boundary-crosser, a chameleon, a contradiction in terms ... Good art is good art. What more can one say?"
 
Eve Ogden Schaub
 
excerpted from her review of "Dollhouse Living" (Fotofolio / 2000)