While the actions and sounds of the performers moved closer and closer into Fluxus territory while still maintaining a remarkable degree of coordination, the instructions on the video veered increasingly into data mining. Bosnić’s practice is deceptively fun: a cheeky, freewheeling wit belies a cutting exploration of post-digital media lying subcutaneously of the wacky surface of this music. (Tempo 76 (299)- Max Erwin, 15.12.2022.)