"Gulino's flat, bold, acrylic paintings are jubilant juxtapositions of old masterpieces and the modern world. On his canvases, Peter Paul Rubens and his wife float in the tree in front of Cinderella's castle at Disney World, Botticelli holds a medallion of Lorenzo de Medici in front of the Torrington junk yard, Sargent's Madame X inclines her long, regal neck and patrician nose toward the bleachers of Yankee Stadium, and Franz Hal's, Laughing Cavalier presses up against a supermarket shelf stacked with boxes of Ronzoni pasta." –Tracey O'Shaughnessy

"Rather than hiding the source of artistic trespass as past artists did, Gulino invites the viewer to participate in the undisguised pantry-theft, elevating the audience to the role of co-conspirators. When it works . . . it instills renewed energy and fertilizes older works with new relevance and an occasional new lease on life." –Burt Chernow

"Sal Gulino's work is missing one thing–a message. You can find Henry VIII with a twinkle in his eye smack in front of a 20th century motel. Or Vermeer contemplating the position of bananas and lettuce in front of Tommy's Food Store in Torrington, CT. There is disparity, contrast, and anachronistic contradiction, but don't look for a message. You won't find one." –Gregory Zabielski and Ed Chaberek

". . . Gulino makes these madcap marriages of the pomp and the prosaic . . . with a sense of humor. . . . The Lord knows the art scene can well stand a shot of levity. Most artists take themselves and their work much too seriously. Gulino's humor is chiding, never cynical. In a way, it is almost romantic. The vulgarity of a wall covered with chrome hubcaps has as counterpoint one gold medallion in the hands of Botticelli's Lorenzo de Medici, reminding us that there once was a different way." –Jack Perretti

"Gulino's wit and penchant for punning are what make his work click and rise above the banal . . . Gulino is an artist who teases and tantalizes and makes one run home and take out all his big art volumes. This reviewer returned with the volumes to stand before his canvases. Just as suspected–the miraculously-drawn portions of Manet and all the rest are drawn from slide blow-ups. Not that it matters. Sal Gulino is, like Leger, a hearty talent." –Martha Scott 

“Gulino’s paintings allow us to note a seamless combination of the history of art, its study, its devotion to, and its appreciation for – placed within (literally, painted into) – the very society that it reflects. With the best of poignant irony, Gulino’s work assumes in metaphor the noted significance of art to a society, a culture. And he does this with the ironic elegance of Postmodernist appeal by literally quoting from, copying and referencing, in self-reflected homage, the treasure trove of art history.”  –Laurann Szpak