"In the actual paintings, it struck me that the hidden figure became the architecture upon which she created a painting, both spatially and in its lines. So space moves like a figure from surface to depth, and from active to passive, her paintings include both soft and hard elements like a body. You are welcome to enjoy the abstract surface treatment, but also to 'see figures' by following the movement of passages of paint into and out of depths. As such, it struck me that there was something 'baroque' about Findlay's painting, in creating complex space with depth and shallowness both."
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Robert Mahoney, critic, New York, 2006

"...frenetic but stimulating movement between contrasting ambiences is key to her painting. Most canvases feature an agitated up-and-down line, much like the graph of a healthy EKG. It indicates the presence of what Findlay calls a runner, a mysterious, shifting presence that informs what otherwise would be seductive paintings. The runner has a galvanizing effect, strangely lifting the viewer out of any lyrical reverie."
William Zimmer, critic, New York, 2006

"Findlay draws on a vast, diverse palette that ranges from dark purples and blues and inky blacks to pale golds, yellow and oranges, all pressed into service to create one of the liveliest descendants of abstract expressionism I've seen... Findlay is a real find."
Michael Mills, Newtimes, Broward - Palm Beach, May 20, 2004

"...tequila-sunset palettes radiates energy, but is nevertheless quite serene."
Shana Nys Dambrot, Flavorpill, December 30, 2003

"Color and space are at the core of Beatrice Findlay's figurative abstractions. On poetically rendered canvases, her color creates space and space generates a sense of enormous scale... Findlay sets up a dialogue between the precise geometry of hard edge space, which she then subdues with the lyrical seduction of soft-edge color."
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Roberta Carasso, PhD, Critic "Runners/Landscapes: Hard Edge Space/Soft Edge Color," Los Angeles, California, 2003

"Beatrice Findlay's understanding of abstraction is deeper than its usual treatment by abstract artists. She tries to get to the roots of abstract thinking and to convey, in abstract forms, that which is disjointed, indeterminate and impossible to render in arbitrary ways. Furthermore, because her main preoccupation is the human being as a mystery, as part of the cosmos, she also allows the human being to be engulfed and absorbed in abstract forms. Human conscious being, so concrete and stable to us, appears merely as a fragile vestige, carried by the wind and desperately seeking form."
Lucyna Skompska, reviewing the exhibition at Muzeum Historii Miasta Lodzi,
Lodz, Poland, 1991

"...consistent, never-ending variations on the subject of a man caught in a certain emotional state, or a landscape indirectly or directly influenced by man... The artist's main inspiration is a big city- Los Angeles, New York, Paris- its riches and poverty, beauty and charm, but also its murky violence, the incessant crowds and the urban stuffiness that drives the people out into green suburbs. The light here has a special disquieting intensity"
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Monica Teresinska , Zwierciadlo, Poland, 1990

"Contrasting the concrete with the ethereal, Findlay's surface and images are in constant flux, like fast moving clouds whose configurations change instantaneously. Her paintings and mixed-media works are rich intricate tapestries of organic shapes and colors that shift and change continuously, inviting the viewer to return and try to unravel their mystery."
Nancy Kay Turner, Critic, Los Angeles, 1990

"The subjects and themes are presented in a way that resemble what might happen if one brought a Polaroid along in the middle of the night, just in the event one could capture dreams on film."
Jane Bell, Resonances Exhibition Catalogue, 1988