"Sue is not the only artist whose work has evoked these facts of our collective existence, of course, but the way she brings them into her work is unique, because she has no interest in persuading us of the seriousness of her concerns, or of the importance of her treatment of them; she has never cultivated a style that is austere, grim, or lugubrious, even in the bluntest of her early works. The tone of her work is neither apocalyptic nor mournful. It has always been imbued with humor, but over time the humor has becomes less visceral, more elegant. It’s hard to think of any painter working today whose work is so high-spirited, free-spirited, more buoyant."

"I’ve remarked before about Sue’s penchant for describing the aesthetic of even her most obscene paintings as “pleasant,” even as “happy.” I think I know what she means: The painting should not take as its model the will to domination that might be its subject. It shouldn’t lean on the viewer, should not pummel the viewer into submission. No. Rather, the painting should lighten the load its viewer carries, not by distracting us from our troubles but by showing that what oppresses us can be made smaller than the spirit that bears witness to it and knows the oppression for what it is. I think that’s why the multitude of distinct images that flow together in each of Sue’s recent works are so petite—because while she can never forget the wrongs and absurdities they chronicle (and nor does she want anyone else to forget them)—she knows that according to the scale of consciousness, they can become puny. What’s “pleasant” in Sue’s paintings is not what the merely pleasant in art usually is, the lie that’s more agreeable than the truth, but rather the triumph of the truth-teller’s art (and what truth could there be without art?) over the very bitterness that is at the heart of the real. To me, that pleasantness—that pleasure—lends the courage to persist."

Barry Schwabsky

"Williams’s harshly bright, transparent colors can turn on a dime from sweet to grating, and the writhing, twisted forms they describe, the viscous puddings of color and skeins of swirling, wiry lines that look as if they could strangle you, suggest readily enough a world in disarray."

Barry Schwabsky, Artforum, April 2014

"Compositions extended over large canvases combine the different techniques the artist developed during her career, clear lines bundling or building patterns, colour fields, fringing at the rims, and clear drawings which are neither figurative nor totally abstract."

Tillmann Severin, Press Release, Galerie Eva Presenhuber, 2016