“Benglis’s metalized forms seem to germinate, to have a torque and pulse, yet simultaneously seem devoid of any interior… Seen silhouetted against walls and heightened by their deep theatrical shadows, the metalized forms appear disturbings ly suspended in t.mes , on a symbolic proscenium.”
SUSAN KRANE, “LYNDA BENGLIS: THEATERS OF NATURE,” LYNDA BENGLIS: DUAL NATURES, ATLANTA, 1990, P. 52