While committed to overall harmony and an ideal of perfect geometric form, Fendrich injects the warmth, spontaneity and quirkiness of the human touch through her handling of paint and form.Wei, Lilly. "Up Now," ARTNews, December 2002. She insists on hand-rendering all shapes (even squares), creating quivering, soft edges and texture, and allows areas of irregular color and underpainting to be revealed.Princenthal, Nancy. "Laurie Fendrich," Art in America, March 2007. Her eccentric, biomorphic shapes—which just barely suggest eyes, noses, cartoon profiles, pots and other worldly things—add levity and wit through their "familial" interactions and allusions. Critic Donald Kuspit, however, wrote that while the work was "lovely to look at," it summarized the innovations of its predecessors rather than breaking new ground.Kuspit, Donald. "Laurie Fendrich," ArtForum, March 2007, p. 121–2.
