“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