"Mueller has knack for turning simple objects into vast, uncomplicated fields of space."

Randy Gragg, Oregonian A&E, July 1991

"Mark Mueller's graphite on paper is an abstraction with a strong duality: sensuous lines surge from the center to challenge the surrounding grid."

Regina Hackett, Seattle PI, 1994

"These big new black-and-white charcoal drawings render urban scenery in tough latter-day cubist lines and messed-up white spaces." "Placed here, it magically turns into something: the dark, blank spaces between our few familiar places."

Lyn Smallwood, Visual Arts, Seattle Weekly, 1992

"Many of the works merit closer attention, more than space here can provide: Mark Mueller's two-panel paintings of contrast and correspondence, for example."

Willard Wood, Reflex, 1988

"Black and white prints are strong in this show, particularly Mark Mueller's, whose lines look like they grew on the page."

Regina Hackett Seattle PI, 1989

"Mark Mueller's bold black-and-white abstractions exalt in ink."

Matthew Kangas, Visual Arts, Seattle Weekly, 1989

"Both artists skirt the putative dividing line between abstraction and representation in different ways. They suggest how newer artists are free to explore or polarize the enigma of the postmodern condition: how to represent reality best? Mueller better straddles the competing strains of our century's art. His bold woodcuts, several done at Centrum in Port Townsend, have representational titles like Woman and Umbrella (1986), or Argonaut and Bookkeeper (both 1988), but they are highly abstracted or schematic figures lost in a wilderness of gouging black strokes. His line is disconnected in a powerful way."

Matthew Kangas, Visual Arts, Seattle Weekly, 1988