Huchthausen's work is extraordinary, it immediately attracts us even as it holds us at bay. It is painstakingly crafted, yet seemingly incomplete. Powerful yet treacherously fragile. The sculpture itself is enigmatic: The icy super-polished surfaces disdain the human hand, the shattered razor-sharp edges taunt us to touch without lacerations, and the teetering visual instability completes the instinctive message to keep our distance. The sculpture appropriates and commands its own space as if in some extra-terrestrial encounter or as an animal might establish its own territory.
Sidney Goldstein - St. Louis Museum of Art
David Huchthausen's artworks are tough to approach because there is no single handle to grab them by. They are both beautiful and intellectual, cool and aggressive, and in addition they are packed with multiple references that defy any attempts to neatly summarize their subject matter or their impact.
Janet Koplos - Catalog essay
Huchthausen's formal vocabulary and bold color schemes seem high-tech and post modern; in particular the luminous blues and high-gloss black fit right in with an age of computer-generated imagery. Huchthausen's designs are in fact very close to the vocabulary of post modern architecture as practiced by Caesar Pelli, Helmut Jahn, or the firm of Kohn Pedersen Fox.
Robert Silberman - American Craft Magazine
The "Leitungs Scherben" are complex not only sculpturally but conceptually, especially because the novel idea that the physical artifact and its projected image together constitute the work... The wide range of variations represented by the individual "Leitungs Scherben" is admirable, and compares favorably with the use of theme and variations in the work of artists such as Frank Stella, Kenneth Noland and Joseph Albers.
Robert Silberman - University of Minnesota