[3] With the libretto, Hamadeh returns to an artistic methodology, namely through emotion and poetry, to "explore(s) the workings of testimonial utterance as a means to rethink legal subject hood and to disrupt with that the centrality of citizenship.
[6] The Institute of Modern Art in Brisbane said of Sleepwalkers, the last chapter of Alien Encounters, "The work’s abstract and non-linear script, its dissonant audio track, and the constant shifting of its characters re-choreographs the power-relations between the persistent image of the female monster, the figure of the state, and colonial violence.
"[7] Jesi Khadivi of Frieze, reviewing The Ten Murders of Josephine commented, "For nearly a decade, the Lebanon-born artist’s research- and performance-based practice has questioned the infrastructures of justice, militarism, histories of sanitation and theatre."
Khadavi describes the performance as consisting of "a 40-minute sound- and text-based opera, which loops through the building’s dim, violet-lit second floor", noting "processes of translation and reordering articulate a shifting hierarchy of voices.
[4] Wall Street International's review of Ramadeh's The Ten Murders of Josephine described it as "coalescing multiple strands of theoretical research in the largest project in her career to date; one that genuinely engenders new modalities of readership and spectatorship, and tests performative dynamics of exhibition making.