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"To see creatively," Katz writes in the catalog for this show, "one might first reject the assumption that the artist is the creator and the viewer is the passive spectator. Rather, both might be thought of as conspirators in the process of creating art." Katz upholds his end of the conspiracy with his ravishing small watercolors.

The Sunday Oregonian, November 18, 2001

Katz is less turned inward than many abstractionists. His paintings possess an expansive energy. The end of one work predicates the beginning of the next, indicating continued and evolving investigations of spatial color.

Anne Hirshorn, Arts America, United States Information Agency, Washington, DC, Oct. 1997

Katz acts as a journalist, observing and feeling people and phenomena and then breaking those figures down to their essence to display their "energies." He may start with a traditionally rendered figure, then scrape away pieces and conceal others with color until the paper reveals little about the object's form but everything about its quality.

Keith E. Halladay, "An Interview with Ted Katz," Arts & Editor, Fall, 1997

Confronting a Katz painting is like inadvertently interrupting a heated discussion among painterly elements. If you lived with such a painting, the discussion would resume each day when the sun came up.

Ted Lindberg, Preview, Sept. 1997