Excerpt from Dan Cameron's article Roving Eye in Art in America:

Last Saturday afternoon, while I was getting ready to hit gallery and museum openings in three neighborhoods (an anomaly of synchronicity brought about this year because the tourist-attracting Carnival took over the first weekend in March), friends started calling me about Dave Greber’s new video installation at The Front, which I planned to visit at the end of my rounds. A seven-channel video that ponders mortality by way of predominantly Hindu iconography, Open Arms (2011) was a leap forward by a young artist who has already produced some of the strongest videos to come out of New Orleans in recent years.

Hours later, as a group of us sat rapt, watching and listening to Greber’s hypnotic images and sounds, it dawned on me that there wasn’t a single other curator, critic or collector present. In nearly any other city in the U.S., an artist of Greber’s talent, with a word-of-mouth following that other artists dream about, would enjoy a corresponding level of excitement on the part of those who collect, write about, and otherwise promote the growth of contemporary art in their communities. To lend some perspective, the preparatory drawings for this video were selling for $45 apiece. At the end of the evening all were still available.