Sculpture Magazine on "Petah Coyne: Having Gone I Will Return"
"'Having Gone I Will Return' perhaps offered Coyne's version of a memoir, although much of the story is elliptical and cache.
Redolent with tenderness, it yokes grief to solace in a perpetual cycle.
For Coyne, loss is redeemed by not only love, but also by a furious love of art and art-making that is both acknowledgement of our mortality and its antidote. "

— Lilly Wei, "Petah Coyne: Galerie Lelong & Co.", Sculpture Magazine 38, no.
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ARTnews on "Petah Coyne: Everything That Rises Must Converge"
“The centerpiece of this dark, fairy-tale-like milieu is Untitled #1336 (Scalapino Nu Shu), 2009-10, a magnificent apple tree coated in black sand.
Perched high on its silhouetted limbs are ten taxidermied peacocks, their heads alert and their plumage sweeping downward.
Below them dangle black pheasants, upside down with wings splayed.
Have the peacocks vanquished their foes or outlived their partners?
Stunning, disturbing, and ambiguous, the piece– like all of Coyne’s sculptures– is pregnant with literary and personal allusions.”

— Hillarie M. Sheets, "Up Now: Petah Coyne", ARTnews
According to the Scottsdale Museum of Contemporary Art,
"Coyne belongs to a generation of sculptors—many of them women—who came of age in the late 1980s and forever changed the muscular practice of sculpture with their new interest in nature and a penchant for painstaking craftsmanship, domestic references and psychological metaphor."

— Scottsdale Museum of Contemporary Art
Sculpture Magazine on "Petah Coyne: Having Gone I Will Return"
"'Having Gone I Will Return' perhaps offered Coyne's version of a memoir, although much of the story is elliptical and cache. Redolent with tenderness, it yokes grief to solace in a perpetual cycle. For Coyne, loss is redeemed by not only love, but also by a furious love of art and art-making that is both acknowledgement of our mortality and its antidote. "
— Lilly Wei, "Petah Coyne: Galerie Lelong & Co.", Sculpture Magazine 38, no. 3
ARTnews on "Petah Coyne: Everything That Rises Must Converge"
“The centerpiece of this dark, fairy-tale-like milieu is Untitled #1336 (Scalapino Nu Shu), 2009-10, a magnificent apple tree coated in black sand. Perched high on its silhouetted limbs are ten taxidermied peacocks, their heads alert and their plumage sweeping downward. Below them dangle black pheasants, upside down with wings splayed. Have the peacocks vanquished their foes or outlived their partners? Stunning, disturbing, and ambiguous, the piece– like all of Coyne’s sculptures– is pregnant with literary and personal allusions.”
— Hillarie M. Sheets, "Up Now: Petah Coyne", ARTnews
According to the Scottsdale Museum of Contemporary Art,
"Coyne belongs to a generation of sculptors—many of them women—who came of age in the late 1980s and forever changed the muscular practice of sculpture with their new interest in nature and a penchant for painstaking craftsmanship, domestic references and psychological metaphor."
— Scottsdale Museum of Contemporary Art
Petah Coyne