Deeksha Nath, "Meditating on Harmony", catalogue essay, 2006
"…Vineet's new works, Travel Tableaux, about journeys undertaken and imagined…combine photography and clay, high temperature glazed tile with unfired digitally printed colors. The effect is mesmerizing and contains the import of Vineet’s endeavor; to reference the past in the present; to create a combination of the sacred and profane and to create markers of positive energy and contemplation. While doing so he breaks the rules of and for ceramists"

Peter Nagy, "Associative Dig", catalogue essay published 2005
"…Vineet Kacker’s works incorporate dialogues as varied as those of building and architecture, man’s quest for the spiritual, the function of decoration and the language of symbols. He updates ancient language systems, playfully re-ordering and re-contexualizing them, creating works of art that both participate in our preconceived ideas of what ceramics and pottery constitute and redefine what we expect the medium may be capable of achieving..."

Ray Meeker, "Remix in Clay", catalogue essay published 2005
"…Embracing the old and new, figural and functional, East and West, Vineet takes a western approach to contemporary ceramic art and combines it with the visual lexicon of the Indian sub-continent…Vineet takes the jar—as stupa, chorten or gopuram—converting it into an intimate architecture of the spirit, a visual sutra, iconic in its devotion to detail, a masterly unification, fusing seamlessly the sacred and the profane…"

Menezes, Meera "Intimate Duet between Hand and Clay", Art India Magazine, vol. ix, issue ii, quarter ii, 2004
"…Scratch the surface, or to use a Kackerism, "1-800 dig deep", and you will find the artist engaged in subverting Hindu and Buddhist iconography…shuffling it as he would a deck of cards, revealing a mixed hand each time… his chortens, with their enigmatic depressions, hint at the intimate duet between hand and clay…"

Rob Silberman, "Seven McKnight Artists", catalogue essay, 2003
"…What is most striking about the artist’s sensibility is that for all his sophistication and skill, he manages to preserve a sense of innosense, served by a wide-eyed curiosity that takes in the whole exuberant panoply of Indian visual culture, from graffiti to temple figures to to the giant ceramic horses of Aiyyanar…"

Sandy Brown, "Temple Pots", Resurgence, May/June 2002
"…Vineet Kacker has an understanding of form that is quite rare. He has a wonderful ability to work instinctively and to trust those instincts, combined with a heightened sense of awareness of all that is going on for him in his pots…his temple pots have it all - they are like bodies which hold the spirit, which are the spirit…"