He has also translated work of poets like Frank O'Hara, Charles Bernstein, and Jericho Brown into Hungarian.

[14] Gerevich was adjunct professor of Screenwriting and Creative Writing at ELTE School of English and American Studies from 2011 to 2014.

[18] In 2010, his poems were part of Arc Publications' English-Hungarian bilingual anthology ″New Order: Hungarian Poets of the Post 1989 Generation″, which was edited by George Szirtes.

[19] In 2017, Andrew Fentham received the Stephen Spender Prize for the translation of his poem "Balatoni Baleset (Balaton Accident)" into English.

[21] His other translations include, The Man in the High Castle by Philip K. Dick and Catching the Big Fish by David Lynch.

[27] Norman Jope of Tears in the Fence, wrote, "Gerevich, who apparently divides his time between Budapest and the English-speaking world, is much more than a poet of political protest alone - his work, on the whole, is characterized by a direct sensuality that you don't have to be gay to enjoy This defiant celebration of gayness is a perfect riposte to the family fascists, as in 'Marmaris.'

He also strongly stylizes, that is, he searches for a literary form, writes poems, but in a way that moves on the border of personal and allegorical translatability.

Viktória Radics in her review of Barátok, wrote, “András Gerevich, who until now attracted attention with his openness about sex between men in poetry, has now crossed the line of breaking the taboo.

These current poems are shockingly good not because they write about the strange erotic-sexual experiences and bizarreness of gay relationships, but because they touch on the height and depth of love, sometimes even capture it.“[32] Könyves Magazine wrote, “Barátok goes beyond the poetics of chest hair[d] in the poems the homosexual theme is objectified in such a way that the experience material of the lyrical self holds exciting possibilities even for the reader who is not familiar with the homosexual experience.“[34] His 2022 poetry collection Légzésgyakorlatok (Breathing Exercises) was described as a “shift from the theme of sex and physicality to ecopoetry and biopoetics.“[35] However, László Bedecs in his review in Jelenkor, wrote that "the title (and the titular poem) is still a cry" and "the intimate sphere just mentioned becomes more and more narrow due to external pressure".

He further wrote that "if Gerevich's feelings are branded as something from which the children must be protected[e], i.e. as something bad, threatening, then it is no wonder that in the poem also cries out for space and air.