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Provocative in the demands they make on the viewer, and the emphasis placed on discovery and ambiguity. . . . Katz (shows) respect for the viewer by making a marked distinction between thought and noise. . . . A Ted Katz painting . . . requires an easy chair, solitude, at least the oblique rays of a Northwest afternoon . . . and more looking.

Stratton Green, Reflex, Nov/Dec. 1993

The figure is not a specific individual but a vessel of the psyche. . . . Katz continues to work the image, layering pigments and textures. . . . The resulting appearance of the image is no longer necessarily figurative. . . . Katz allows for multiple interpretations to be present.

Ron Glowen, Professor of Art History, Cornish College of the Arts, 1993

Surfaces are built up like layers of sedimentation, often trapping forms that are obscured by subsequent strata of paint. . . . Katz creates a physical metaphor for the layering of past experience.

Patricia Failing, Assistant Professor of Art History, University of Washington, 1991

There's not a dud among these works.

Roger Downey, Seattle Weekly, May 20, 1992

An electric current charges through the intense paintings by Ted Katz. Walking into a gallery filled with these small, vibrantly colored paintings, is like diving into unknown depths — we receive an invigorating shock followed by a refreshing afterglow.

Christine Henderson, Willamette Week, May 23-May 29, 1991