Leigh Robb, a curator at the Art Gallery of South Australia, remarks that Thomas Rentmeister “…selects a set of industrially mass-produced domestic materials and uses them as units or building blocks – from sugar cubes and cotton tips to Tempo tissues, electrical sockets and whole refrigerators.” Christoph Schreier of the Kunstmuseum in Bonn says, “His art is never a hermetic, self-contained work or an aesthetic monad – the identity of the ‘non-artistic’ materials always remain recognizable. He references Minimalism but freshens up its severe stylistic vocabulary with a healthy dash of Post-Pop and Dadaist nonconformity.” Art historian Ursula PanhansBühler meanwhile coined it “Impure Minimalism”, while art critic Magdalena Kröner, writing about Rentmeister in the Frankfurter Allgemeine Zeitung, notes that “…the irreverence with which Rentmeister combines art and life is the most extraordinary aspect of his work.”