"Expands greatly the scope of our knowledge of auteur and impresario Lynch."--Douglas F. Smith "Library Journal" (2/1/2015 12:00:00 AM)

"Lynch's last Philadelphia canvases are brutally textural, integrating cigarette butts and filters, matted horse-hair, and bits of unidentifiable petrified organic matter. His more recent work, characterized by broad paint strokes and large-scale dramatic canvases, is more polished in its perversity."--J. Hoberman "The New York Review of Books" (12/9/2014 12:00:00 AM)

"Lynch is at his best when grasping just how unsavory we can find deterioration disrupting the mundane areas of our life, especially when evoking it as a reflection of human good and evil, and that holds true in his visual art. . . . There's a definite vision and storytelling with the mix of text and image in the galleries."--Allison Meier "Hyperallergic" (10/2/2014 12:00:00 AM)

"He was, and remains, fond of biomorphic shapes, the incorporation of texts, working with textures, playing with dimensionality . . . David Lynch began as a painter -- he still is a painter."--Mark Feeney "The Boston Globe" (11/15/2014 12:00:00 AM)

"Late works find him tapping into primal fantasies of the psychotic annihilation of self and the other."--Ken Johnson "The New York Times" (9/17/2015 12:00:00 AM)

"Impressively curated by Robert Cozzolino, The Unified Field makes a case for considering Lynch as 'an artist who happens to make film as part of his expression.'"--Jonathan P. Eburne "The Los Angeles Review of Books" (10/8/2014 12:00:00 AM)

"it is fascinating to see Lynch's noncinematic work, especially the earliest canvases . . . from January 1966 through the spring of 1967."--Fred B. Adelson "Courier-Post" (10/20/2014 12:00:00 AM)