• 2002 Pauline Uchmanowicz. “Kingston’s thriving art community,” Catskill Mountain Guide Magazine, November, 2002. pp. 96 - 100
“...Not be missed in the Uptown Kingston portion of tour 2002 was ... McKenna’s own studio.... Her vibrant oil on canvas paintings capture western vistas - the buttes of Wyoming and landscapes of Montana - in burnt red, orange, yellow, and green reminiscent of Gauguin’s impressions of Tahiti. Partially a plein-air painter, McKenna begins many pieces on location with raw under paintings, broad, figurative brushstrokes rendered in Prussian blue against ochre-sienna tinged back color. Though she holds a master’s degree in Industrial Design from Pratt, her undergraduate study of native American artifacts more openly seeps into pieces such as Paradise Valley and Flat Tops Wildeness.”

• 2002 Dakota Lane. “Zen in a few forms. Art as a mind-expanding experience,” Almanac, March 2002
“...I have been following McKenna’s career for about a decade and find that with these works she has made an exciting breakthrough in terms of originality and clarity of vision. She has always conveyed a soft and joyful sense of light through form and color, and in this show she goes beyond harmony to exuberant symphonies.”

• 2002 Mary Cassai. “Strong fauve exhibit on display in Woodstock,” Daily Freeman, March 15, 2002
“...For another strongly fauve exhibit, walk two or three doors west to the Kleinert/James Art Center, 34 Tinker Street for K.L.McKenna’s Color Harmonies of the West. In some respects McKenna’s work is more strongly fauve than Avery’s. In one painting after another of these western landscapes Boyer Ranch, Savery Creek, WY (2000); Rocky Mt Rain, CO (2001), for instance - one finds the fauve exuberance for life, complete with purple tree trunks and blue barns.
But there is something else here. There’s a hint of Paul Cezanne, and his preoccupation with form and mass, in McKenna’s fascination with the structural starkness of these land formations. It appears in works like Farmland with Buttes (1995) and in Chimney Rock, Shell, WY (1999)...”

• 1996 James G. Shine. “Fine Artwork Displayed Locally,” Daily Freeman Preview Section, May 24, 1996
“...Favoring a brighter than bright palette, McKenna has marked influences of the French Impressionists, the Fauves, the Pointillists and even the Spanish Zuloaga. But the end result is one of her very own person. The work is unmistakably McKenna.
Subjects range from nudes to still lifes to majestic scenes from Colorado and Wyoming, where she spent much of her childhood accompanying her father, a paleontologist on research expeditions...
She favors all shades of blue. This is also the case with her still lifes, scrumptious renditions of floral compositions perhaps surrounded by a plethora of the most unexpected objects. She is, at least for the time being, a champion of figurative styles and her production is pleasing to the eye and phenomenally interesting, which thankfully carries her way past the merely decorative mark....”

• 1993 Gerald Horn. “Splendid mentor,” Woodstock Times, July 14, 1993
“ ...Kingston, 1993. The Gallery at Park West, Hurley Avenue, is showing 51 pieces of work by Nick Buhalis, spanning three decades as well as a selection of works by people he taught and inspired over the course of those years. A major task to integrate a show of such size and scope, but the 79-pieces-in-all hold together, a true accomplishment by gallery directors Doug Alderfer and Judy Abbot....

• 1992 Dakota Lane. “Figure times four,” Woodstock Times, September 10, 1992
“...Katharine Mckenna is a supreme colorist, whose lightly applied, vivid pastels give dense life to her puzzle-like works. Sharp black outlines delineate form while changes of light and dark are depicted through studiously variant colors. In “Still Figure with Life,” a voluptuous reclining pregnant woman projects an inner-directed state of sweet meditation, with her eyes closed and hand resting on her belly. A pregnant form is echoed, in silhouette, elsewhere in the work, as part of this subjectively shifting picture plane. Every separate form-sometimes discernible as specific objects, sometimes an abstract geometric- can be viewed as an extension of something else, with neither figure or environment taking precedence over the other. She presents a flat, layered, sliding dimension, her works like bright paper collages, the elements receding and popping out, depending on where her symphonic play of color draws the eye.”

• 1991 Lei Isaacs. “‘Study to become great’ - Buhalis pupils eschew mediocrity at Kingston School of Art,”Woodstock Times, April 15, 1991
“...Any display of works by student artists demonstrates the influence and skill of the instructor as much as the talent and potential of the students. This is abundantly clear in the first of two displays of works by the students of Nicholas Buhalis, concluding a month long run this Friday, August 16 at the Kingston School of Art, downstairs at 37 North Front Street in the Stockade area.
The exhibition includes paintings by 25 pupils of Buhalis, who have been studying with him for the past one to five years. Buhalis believes his teaching technique allows his students to become proficient in their chosen media in six months, after which they can devote their creative energies to developing their individual skills and visions.
A first impression of the exhibition is that it encompasses a wide variety of subjects, styles and levels of ability. Closer viewing, however, shows there are strong basic similarities underlying this seeming variety. All of the works show emphasis on the use of color. Some students express this boldly, by use of vibrant primary colors, while others stress a strongly monochromatic color scheme.
A majority of the works on display express light values in boldly applied patches of bright color, giving the works the appearance of a patchwork quilt. Also, many of the students delineate their works with bold outlines, frequently combined with a stylized treatment of the subject occasionally reminiscent of early works by Picasso...”