The luminous, light-infused paintings of Gerard Mosse celebrate illumination as experienced within modernist painting and, more recently, as seen in the visionary art of such artists as James Turrell and the neon-light constructions of Dan Flavin. While Mossé does not imitate in any way the work of these artists, his paintings look to parallels of intensity in the way that color can be suffused with incandescence— to use catalogue essayist Carter Ratcliffe’s term for Mossé's project in general. His essential structure— the establishment of vertical columns of color with hued highlights approximately one-third from the top of the bars—is repeated in paintings that suggest the minimalist appraisal in their bare forms. The verticality of the bars intimates the figure in simplified shapes, while the color seems to exist for itself, as a bit of joyous expressiveness justifiable on its own terms. Mossé, a long-time New Yorker, inevitably invokes the bare structures of minimalism, a movement that mostly happened in New York; however, he extends the austere language of his immediate forebears in the direction of the sublime." 
 Jonathan Goodman, “Gerard Mossé,” Artcritcal, June 2010.