Red Stockings
"By 1968, Huot had begun to use photographic imagery, fusing his continuing concern with minimalism and an interest in the erotic. RED STOCKINGS is a demonstration of the power of a single frame of photographic imagery. Except for one frame, the entire three-minute film is a continuous, uniform red which creates a variety of afterimages and other optical illusions. When the lone frame flashes by halfway through the film, the imagery is difficult to identify, but it has a somewhat erotic quality which, when I first saw the film, sent me to the rewind. I scanned the red until I located the frame and discovered an image of a naked female crotch. The title clarifies the erotic joke, which, however, exists only if the viewer is willing to examine the film closely enough to be sure of what is there." - Scott MacDonald, The Films of Robert Huot: 1967-1972, Quarterly Review of Film Studies, Summer 1980

Cross-Cut - A Blue Movie
"In CROSS-CUT--A BLUE MOVIE, Huot presents a minimal passage of intercutting between found footage of a hoochy-coochy dancer and a blue leader, organized as a pair of inversely related geometric progressions. The resulting film is amusing (because of the pun in the title, the speed of the editing, and the funny fast-motion shimmy of the dancer); highly rhythmic (both because of the intercutting itself, and because of the rhythms added by the dancer's movements, the flutter of dust particles on the blue leader, and the waver of scratch marks on the footage of the dancer); and formally interesting because of Huot's creation of a montage which so energetically goes nowhere." - Scott MacDonald, The Films of Robert Huot: 1967-1972, Quarterly Review of Film Studies, Summer 1980

Black and White Film
"For BLACK AND WHITE FILM, Huot created his own photographic imagery for the first time. After a few moments of darkness, a young woman (Sheila Raj) lowers a covering of some kind, slowly revealing her naked body. She reaches outside the circle of light, which illuminates only her silvery form, scoops up dark paint, and, beginning with her feet, gradually paints her entire body. When she has become invisible except for the faint sheen of the paint, she drops her arms, looks straight ahead, and the film fades to total darkness. The serenity of the film, which is structurally reflected by Huot's presentation of the action from a single position in a single take, its sensuality, and the aura of ritual it creates (Raj always moves in a formal way and, except when she needs to look for the paint, looks modestly down) make BLACK AND WHITE FILM a quietly haunting work." - Scott MacDonald, The Films of Robert Huot: 1967-1972, Quarterly Review of Film Studies, Summer 1980

"A nude woman is revealed, and then obliterates herself entirely, in extreme slow-motion. This film is 'about' painting. Outside of painting itself, it is the only really intense criticism I have ever seen." - Hollis Frampton