"While Rothenberg's earlier works were largely monochromatic and still, the new series, representing two years of work, are filled with color and movement…the forms vibrate, as they might in successive frames of a film. The colors may be as dark as a Norwegian night by Edvard Munch, or as sweet as a Provencal interior by Pierre Bonnard. As Rothenberg enters more deeply in figurative territory, she is being introduced to ghosts of European art that may have haunted her painting all along...Basic aspects of her work remain the same. The space is almost liquid; all the figures seem to be under water…There continues to be a hallucinatory quality to Rothenberg's imagery…And brushwork is more persistent than ever, covering the paintings, leaving no area of the canvas without sound...a tough, heart-of-darkness quality—as if these individual and collective rhythms were pounding inside us.”
Michael Brenson, “Art: A New Direction for Susan Rothenberg,” New York Times, 23 October, 1987, p. C34