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The artist flummoxed critics with the first  New York show of this work-three sculptures and approximately seventy photographs-at Zabriskie Gallery in 1976--"The sense of artlessness is very strong"…There is "a lack of a clearly defined point of view"…"they are almost irritatingly ambiguous"--the comments applied to sculpture and photographs alike. Yet in some instances, the artist's purpose came through:"Christenberry's self-effacing fixation on his low-key material gives it an almost paradoxical monumentality."

粗翻译
克里斯汀贝瑞的照片和雕塑在刚展出时遭到许多非议。
"这些照片和艺术完全没关系"
“照片完全没有观点”
“意义模糊得使人愤怒”

然而他对卑微的的拍摄主体的执着戏剧性地使其仿佛具有了纪念碑式的意义。

——人们的认知就是这么被执着的人改变的，到现在，这种美学在西方已经见怪不怪变成主流了。