Artnet Review of Findlay Show
by Donald Kuspit
"Like the best abstract paintings, Stern's abstract photographs are "mystical," that is, afford a numinous experience. They exist on the threshold between the seen and the unseen. Her photographs have a direct relationship with Christian Schad’s Schadographs, Man Ray’s Rayographs, and Lazlo Moholy-Nagy’s Photograms, and perhaps above all to Alfred Stieglitz’s Equivalents (all their “experimental” photographs were made between the world wars), for his clouds seem like a prelude to her veils, which are more conclusively, cunningly, and conspicuously abstract. Her refined, unnerving photographs are the historically inevitable grand climax of more than a century of experimental photography."
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The New York Observer Review of Gallery B.A.I Show
by A. D. Coleman
"Deeply sensual yet rigorously formal,  these images are not about what they are of.  They stubbornly refuse to function as anything more than surfaces for the eye to move over, spaces for the eye to move through. Thus they raise this question: What is the relationship in photography between literal and metaphorical content?"

Arts Magazine
by Barry Schwabsky
"Paul Caponigro has supplied a foreword to Lynn Stern:Unveilings, yet her set of variations on a simple figure/ground setup, a flower against a white coth background, is quite distant from Caponigro’s warmth: these images take on a complicated purity that is almost violent in effect. They are among the strongest photographic images I have seen recently."

Dia de Valladolid
by Angelica Tanarro

"The skulls and the veils of Lynn Stern guide the viewer toward “the threshold between the visible and the invisible” - a place in which, despite the passing of years or the differences in the series’ subject matter, some constants emerge: “Certain key elements,” according to the photographer, such as “a quality of indirect light that seems to emanate from within like a spiritual presence.”
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El Norte de Castilla
by Angelica Tanarro
"For Stern, the object is a means – a ‘medium,’ we should say, given how mysterious her black-and-white images are. What stand out are points of light that emphasize the range of grays, as well as textures – created by interposing a fabric between the lens and the object – that evoke conte crayon drawings. The whole exhibition takes you back to the Spanish mystic tradition, to artists such as Zurbarán (Stern's work overflows with the spiritual nature of white)."
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Diario de Valladolid
Christina San Jose
"More than a hundred photographs from fourteen different series fill the galleries of the Museo Fundación Cristóbal Gabarrón in an exhibit in which Stern intends “to de-literalize what is in front of the lens.” In the same way that one always tries to see in paintings something beyond what the work shows directly, Stern wants her photographs to project more than what is seen by the eye."
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