Thomas B. Hess. Willem de Kooning. Exh. cat., Museum of Modern Art, New York. New York, 1968, pp. 50, 161, no. 29, ill. p. 60.
Gabriella Drudi. Willem de Kooning. Milan, 1972, p. 33, fig. 39, calls it "Untitled".
Harold Rosenberg. de Kooning. New York, , p. 8, pl. 54, calls it "Untitled".
Jörn Merkert in Willem de Kooning: Drawing, Painting, Sculpture. Exh. cat., Whitney Museum of American Art. New York, 1983, pp. 115, 121, no. 164, ill. p. 162 (color), identifies this painting as one shown in Exh. New York 1948.
Eugene Victor Thaw. "The Abstract Expressionists." Metropolitan Museum of Art Bulletin 44 (Winter 1986–87), p. 28, fig. 20 (color).
Hilton Kramer. "Though Exhibiting It Badly, Met Offers a Worthy de Kooning Show." New York Observer (August 28, 1989), p. 19, calls it an "untitled, predominantly black painting on paper from 1948" and states that it is "of superlative quality".
Jeffrey Wechsler. Abstract Expressionism: Other Dimensions. Exh. cat., Lowe Art Museum, University of Miami, Coral Gables. New Brunswick, N. J., 1989, p. 73, no. 21, fig. 55.
Lisa Mintz Messinger. Abstract Expressionism, Works on Paper: Selections from The Metropolitan Museum of Art. Exh. cat., High Museum of Art, Atlanta. New York, 1992, pp. 18, 24, fig. 6 (color).
David Sylvester in Willem de Kooning: Paintings. Exh. cat., National Gallery of Art, Washington D.C. Washington, D.C., 1994, p. 19, calls this painting the artist's "paraphrase" of Picasso's "Guernica" (1937, Museo Nacional Centro de Arte Reina Sofía, Madrid).
Marla Prather in Willem de Kooning: Paintings. Exh. cat., National Gallery of Art, Washington D.C. Washington, 1994, pp. 93, 95, 103 n. 26, 201, ill. p. 110, no. 11 (color), claims the artist titled this painting.
Judith Wolfe. "The Young Willem de Kooning: Early Life, Training and Work, 1904–1926." PhD diss., City University of New York, 1996, p. 583, fig. 321.
Lisa M. Messinger. Expresionismo Abstracto: Obra Sobre Papel, Colección The Metropolitan Museum of Art, Nueva York. Exh. cat., Fundación Juan March. Madrid, 2000, pp. 62, 64, no. 25, ill. p. 66 (color).
Enrique Juncosa in Willem de Kooning. Exh. cat., IVAM / Institut Valencia d'Art Modern. Valencia, 2001, p. 8.
Richard Shiff in Willem de Kooning. Exh. cat., IVAM / Institut Valencia d'Art Modern. Valencia, 2001, p.70, fig. 3 (color).
Richard Shiff. "'With Closed Eyes': De Kooning's Twist." Master Drawings 40 (Spring 2002), p. 79, fig. 7.
Stefan Neuner in Willem de Kooning. Ed. Ingried Brugger and Florian Steininger. Exh. cat., Kunstforum Wien. Vienna, 2005, p. 26, fig. 3 (color).
John Elderfield. de Kooning: a Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, pp. 121, 179, 183, 453, colorpl. 60, claims that it was the artist's black–and–white abstractions, such as this one, that established his reputation as an Abstract Expressionist; notes the pieces of human anatomy at the bottom of the composition.
Richard Shiff. Between Sense and de Kooning. London, 2011, pp. 142–43, fig. 49 (color), describes this painting as "one of many examples of de Kooning's lettering technique, where edges are traced from inside out and from outside in" and that the skills the artist used to create this work "derived from de Kooning's early experience with commercial techniques while a teenager apprenticed to a decorating firm in Rotterdam".