Hage’s own design sense is exquisite: walls of color or lines or blotches, depths of field extending into unlit edges, snaking wires and interior transom windows, all framed to locate the viewer as the sole observer, the watchperson, watching for the next moves of capital. —Ron Slate, On the Seawall

“Capital’s images capture the vestiges of this neglect with an eye for demolition’s compositional accidents. Hage’s camera zooms in on walls stripped down to scarred and textured abstractions, outlets and wires bereft of purpose, and columns that stand sentry over emptiness.” —Louis Bury, Hyperallergic

As rents and demand, profit and loss, do their dance, hooks and plaster, paint and particleboard register the churn ... Capital is a compendium [of] behind plate glass, and... a city rapidly becoming something else. —Urban Omnibus

In these hybrid spaces, a spirit of labors comes through, anonymous labors that have come and gone, disparate hands that built the years, the same hands that built the city. In these worlds, there is ambiguity and hope, the emotion of aesthetic surprise. —Public Seminar

At first and perhaps out of discomfort, I walked by the shuttered stores thinking of them as surface, without seeking depth or further understanding. But with time, I started to look inside, lingered, and began to photograph for Capital. —Mark Hage, Lit Hub, “The Private Lives of Shuttered Stores”