"Despite its high-tech look, this elaborate composition was created without the aid of computer programs. In TBT 56 (Marriage), one of the most striking works on view, the artist puts Warhol's Campbell's soup can through a similar kind of image shredder. Enmeshed in a colorful network of patterns that suggest late Matisse collages and Bridget Riley paintings, as well as certain 1980s Pattern and Decoration works, the soup can's trademark label appears to glow from within an infinite and elusive space."
– David Ebony, Art In America 2008
"With the work of Robert Reitzfeld, the light bulb goes on over the head of modern art. The metaphor connotes that comic-book eureka: and compels the acknowledgement that conks the modern noggin. Robert Reitzfeld is a master of Abstract Pop."
– Andrew McDonnell, writer, critic, curator
"...What Reitzfeld has done, however, is to give us a sense of the human possibility within the narrative of a tragic world, a tragic-comic world, a world bent on the absurd. Yet, for Reitzfeld, it is also a world full of the joys of quick humor and a sustained reflection that raised the important questions of why we are here and what we are doing for ourselves as human beings to improve the quality of life on this planet."
– Robert C. Morgan
Read complete essay: Robert Reitzfeld Asks: What Are We Doing?
by Robert C. Morgan
"Reitzfeld explores the relationship between the accidental qualities of abstract painting and the precise design aspects of cartoon illustration. ....Reitzfeld finds ways to keep his painting rich with associations for both painting and popular culture."
– Robert Edelman, writer, critic, artist, curator
"New York artist Robert Reitzfeld has a devoted cult following, but his paintings are not nearly as well known as they ought to be. ...The paintings show a witty merger of Pop art idioms and post-painterly abstraction, like a mutant blend of John Wesley, Michael Bevilacqua and Gerhard Richter. In each of the exuberant compositions, Reitzfeld offers a unique balance of formalist elements and absurdist drama."
– from David Ebony's Top Ten @ Artnet
New York ist kein sicherer Hafen mehr Eine Begegnung mit dem amerikanischen Künstler Robert Reitzfeld
Art in America, September 2008, pp 170-171 (David Ebony)
"Eleven Artists" curated/edited by Robert Reitzfeld in NY Arts Magazine, Nov. 2002
Arts Magazine, Feb. 1991, p 102 (Gretchen Faust)
The New Yorker, April 1, 1991, p 13
Art in America, 1990 in review, Aug. 1991, p 40
The Baer Faxt, Nov. 1995
Artnet.com, David Ebony’s Top Ten, March 2001
NY Arts Magazine. Vol.7 No.5 p 59
NY Arts Magazine. Vol.7 No.12 p 30 (Anke-Lina Möller)