``The Liget Gallery is actually in the Városliget, or more exactly on the outskirts of the ``lizsé``. This onetime bakery, which became the studio of Sunday painters, is not only an idylic island sifting out the disadvantages of a large city, it is the nest of the underground rebellion, where the exhibiting or performing artists enter with time-bombs in their hands.  Tibor Várnagy, the art director of the Liget, and his small free company, who have an enthusiastically avantgarde taste, are going to burst the slightly dilapidated walls of contemporary Hungarian art, in April 199O, on the occasion of the hundredth jubilee show. On this exceptional occasion there will be an evening of alternative opera at a neighbouring pub.
The small Liget Gallery is the Eastern-Central-European diplomatic centre of progressive artistic endeavours. Due to its supporting members` private connections, which surpass those of the National Gallery, many celebrities, who could not be invited officially /were censored out/ or were far too expensive, have exhibited here. Among them, Hermann Nitsch, the carrot-haired performer-suffragette Kirsten Tomas Dehlholm, the great Czech master, Milán Knizák...
... The Liget is the last resort for those who felt sorry for the Mini, or the Józsefváros Gallery and the other places that have been closed down.``

Klára Hudra - Gallery, PLAYBOY Hungarian Issue, February 199O

 
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   ``This gallery is one of the so-called independent small galleries which do not belong to the large institutional system. In Western Europe we find many of these galleries, but in Hungary there have only been a few. For example the Mini Gallery in Ujpest - organized by Róbert Swierkiewicz - was such a gallery, and also the Obudai Pincegaléria.
   The Liget Gallery is run within the confines of a community centre, with an extremely low budget. It co-operates with other similar galleries, and has extensive international connections. These are mainly Central European, Austrian, German, Polish and Czech connections, but it has overseas relations as well...
   The gallery has always taken heed of the avantgarde... the experimental art, the various new mediums, photography, video, installations and objects. They have arranged about one hundred exhibitions since 1983 and I should say that they have actually realized what György Galántai would have liked to have realized with his famous - and now legendary - Boglári Kápolnatárlatok series in the early seventies, in another time but with the same conceptions.``
 

Géza Boros - Láttuk, hallottuk /ed. Endre Rózsa T./ MR, January, 1991

 
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The one who is so barbaric that he not only lives art, but has the face to study it, can really get flustered nowadays. Soon after the publication of the Bercsényi  /see Narancs 91/2/, the beautiful publication entitled ``Liget Galéria 1983-9O``, is presently available.
At the Liget /5. Ajtósi Dürer sor district XIV./ there was democracy with self-evident naturalness, even in the days of autocracy. The West and the East, the East and the even Easter, performance /László FeLugossy, Fákó/ and painting /Vető, Szirtes/, music /Apropó, Zsuzsi Ujj/ and photography /Halas, Szilágyi, Várnagy, Kerekes, Zátonyi/ have got on well together. Maybe it was in the field of photography where they have been able to establish the most foreign connections /John P. Jacob, Heinz Cibulka, Mala Galeria, Robert Waldl, M. Moscouw/. Hermann Nitsch and Milan Knízák accepted invitations to Hungary extended by the Liget.
As for me, if it is a gallery, it is the Liget, because of the BOSS as well, who says: ``a picture should only be exchanged for a picture!``. We need lots of phrases like this, which show an inkling of understanding the cut throat laws of capitalism!``
 

Anna Manna: The Liget - Magyar Narancs volume III./3, February, 1991.