..Cross the threshold of Gallery One and you encounter Nöle Giulini’s Wedding Dress, a gender-neutral sculpture constructed from recycled men’s and women’s undergarments. Hardly a patchwork that conjures up the traditional lace-curtain circus, these off-white undies have been through the wringer (they’re hand-me-downs appropriated from friends and thrift shops)…And while it may be OK for us to air–or even wear–our dirty laundry in Madonna-or-Oprah-land, Giulini’s figure takes you under (literally) to deeper, less free-spirited, less–for most of the world’s women–free territory… San Francisco Bay Guardian, March 9, 1994

I do admire Nöle Giulini’s sculpture. Along one wall, she has a row of untitled puppets made of discarded underwear on wire armatures. A kind of sexual joke winks in the idea of underwear rising to perform on its own. These ungendered little figures are like friendly ghosts of the social unconscious… Datebook, San Francisco Chronicle, ‘Bad Girls in N.Y., ‘(Dis)Order’ in S.F., February,27, 1994

As she has in the past, Nöle Giulini steals the show…Following the classic surrealist precept to make it strange, Giulini has succeeded in astonishing the viewer with a simple insight executed to perfection…Other work of hers, such as slippers and a jacket sewn from banana peels, address survival issues and the nature of skin as a barrier between the hostile world and the inner being… Datebook, San Francisco Chronicle, March 14, 1993

At Paula Anglim, four artists shared the space. The most compelling work in the gallery was indisputably Nöle Giulini’s installation of a suite of dried banana skins, each with its own meticulously constructed, bandage like shroud-cumcarrying case. Horrifyingly attractive, these withered fetish-like lumps suggest voodoo, or maybe the pious preservation of some peculiar portion of saintly anatomy… Artspace Magazine: On the Scene: San Francisco, Sept/Oct 1992

Magical procedures happen to be a theme in this show, too. There is a quality of the fairy-tale grotesque about Giulini’s “Untitled (Bananashoes).” Here pairs of shoes made from stitched-up banana peels sit atop a row of glass shoe boxes. The paradox in making shoes from stuff that symbolizes a pratfall turns to pity for our efforts to dress up our mortality the better to bear it…The desperation of the ego’s doomed battle with time is Giulini’s theme… San Francisco Chronicle, Three Women At New Langston, August, 15, 1991

Nöle Giulini’s notion of metaphor is subversive. Her most striking work, golden pellets heaped on the floor and spotlit, plays with the medieval tradition of alchemy that sought to transform dross into gold…Alchemy has re-emerged as a powerful metaphor for the artistic endeavor in the work of people such as the German Joseph Beuys and the Italian arte povera artists…In her work, Giulini questions society’s values, where surface flash is confused with depth of meaning…