"…although these new painting are ostensibly landscapes, they continue her exploration of growing up in the shadow of the Holocaust as the daughter of concentration camp survivors. As in her earlier work, Weisel explicitly employs the allusive power of abstraction to invoke experiences that defy even verbal representation."

"…these improvised, heartfelt abstract paintings...are as shiny and stylish as a Charlie Parker solo. Lights and high-key colors twinkle in their darkness. Their swing is almost jaunty. She seems more willing than before to acquiesce to beauty—'If it does not turn out beautiful, I tear it up', she says. And she has made peace with her impatience. It is useful, and she knows it. Her colorful, successful, invigorating show closes Feb. 11."

"…Jewish Themes/Contemporary American Artists boast work by 18 artists... very affecting too, are the large canvas and smaller oils on paper by Mindy Weisel, the daughter of concentration camp survivors. Concerned with 'the destruction of beauty' in the death camps. Miss Weisel manages to suggest, in richly painted but almost totally abstract schemes, the horror of the camps and the despair of their inhabitants."

"…Weisel builds her paintings on a framework of uncertainties. Far from the art-world chatter about emptiness and the end of content, she works in a flood of quite viable issues. These human issues, which are the inheritance of life, continue unchecked and unchanged—whatever the dogma of art world sophisticates. Addressing them and their attendant welter of uncertainties with sensitivity and individuality, as Weisel has done, is a true accomplishments."

"Mindy Weisel is a painter with a predilection for black. But there is something unusual about the blackness in her paintings: it gives off a kind of light. Hers is a mediated darkness. It is as if the brush had fermented in the paint before it touched the canvas. Her blacks in Absence and The Poet's Night Out are dramatic, lustrous. And when they are crossed with color, like the band of turquoise across her painting Rotation of the Soul, there's an intuitive rightness: it gives us a glimpse into another reality: it asserts that we live, as the French poet Phillippe Jaccottet has said, in the interval of another world. The turquoise band broaches the question of the infinite in the deathscape. This band arrests your eye the moment you walk into the gallery. There is no question that this is spiritual painting. In her watercolor and oil pastels she is trying, like Howard Hodgkin, to pick up where Constable and Bonnard left off, retaining the focused impulse of the stroke and banishing the literal object of representation."

"Some artists just paint their hearts out. Mindy Weisel certainly does. Though born in Bergen-Belsen in 1947—Weisel paints the passion of life, the intensity of the moment. Her richly colored abstracts positively glow. Slashed and dashed with gestural writing and mysterious imagery in dark blacks and crystal blues, greens and reds, these enormous watercolors define emotions ranging from the deepest brooding sadness to gayest laughter. And they are hard to ignore—they draw one in and arouse one's empathy much the way the elusive calligraphy of Mark Tobey does, or the numinous forms and spaces of Mark Rothko. Weisel's energy communicates directly, from heart to heart. 'My whole life is concerned with expressing and capturing the moment,' says Weisel, who is petite, intense and rarely still, I paint feelings. You can change ideas and thoughts, but you can't change feelings. You just can't suppress them. The only things I really trust are feelings.'"