The New York Times, Sunday, September 15, 1991: "Though Elaine Housman's attenuated bronzes instantly arouse associations with Giacometti, the resemblance is superficial. Where the Swiss sculptor's figues speak for all humanity, Ms. Housman's seem preoccupied with personal concerns and have flesh on their bones besides. A dozen pieces with varous patinas, these bronzes have presence, are well modeled and persuade the viewer that they are autobiographical."
Greenwich News, Thursday, October 27, 1994: "Elaine Housman's lean, diminutive bronze charcters engaged in tenuous relationships with the world and each other are the legacy of Alberto Giacometti's elongated, existential figures. At times, her images seem like members of a Greek chorus sharing a communal gestalt. Their forms are shown naked and without articulated features, revealing the artist's interest in philosophical rather than physical realms and her titles underscore this intent: Doubt, Ascent, Reunion, Coming of Age. The search for meaning is paramount as her figures emerge from blocks of bronze or huddle together like tribe members confronting moral challenges.
... the titles imply man's evolution from more humble beginnings into the dominant class, conquering the matter
and materials that surround him.
... Housman's messages of feeling and thought are subtly shaped, as in "Doubt". Here four figures appear
immutable linked together in a lumpen bronze monument, yet one turns his shoulders and head from the others,
unsure of the collective goal of his compatriots.
... Housman's work is profoundly involved with the concept of choices as well as man's responsibility for the unity
with his fellowman.
The New York Times, Sunday, August 21, 1994: "Finally, there is Elaine Housman, making an unscheduled appearance with several of her small bronzes. The majority are groups of figures nude and draped- men parring between a pair of partitions, men and women gathered in a tight circle and so on...............An exception is the figure of a woman bursting through a screen as if it were a paper hoop. This is a vigorously modeled piece that implies the influence of Mary Frank..."