“Threads on the Edge,” article by Lauren Whitley, Preview Magazine (Museum of Fine Arts, Boston), Nov./Dec. 2002. “Linda Behar’s work draws on traditional needle arts, yet incorporates new materials and methods. Combining both hand and machine stitching with acrylic pigments, Behar builds up layers of stitches that suggest three-dimensional landscapes. These exquisite, tiny embroideries are reminiscent of Impressionist paintings in their ability to capture the light and color of a salt marsh at a particular moment of the day.”

"Stitches Across Time," review by Lisa Falco, ArtsMedia magazine, June-July 2001.
" In particular, one striking piece of embroidery in the "Memory" section, Linda Behar's 'Blanket: Wrapped in My Parents' Love,' resides at the intersection of embroidery and technology. To create this large embroidered blanket, Behar employed a computer to retouch a childhood photo and generate a large-scale pattern from it. The resulting photographic image was then embroidered on her canvas of choice: a blanket. The end result is a blanket that literally enacts the sentiment of the photo it bears: Behar can actually "wrap" herself in the memory of her parents' love. Far from being an impersonal, computer-generated product, this piece of embroidery commemorates an intimate period in Behar's life in an extremely personal way."

"Book Arts," review by Patricia Harris and David Lyon, Fiberarts Magazine, Mar./Apr. 2000. "Perhaps the most literal interpretations of the book theme were Linda Behar's stunning Tomato Story and Ratatouille. Both books contain "pages" of Behar's exquisite figurative embroidery bound together within covers, one relating a tomato from seed to slices, the other an illustrated recipe for making ratatouille."

"Linda Behar: Nature Compact," by Patricia Harris and David Lyon, American Craft Magazine, June/July 1998, pp. 42-45. "If the embroidered miniatures by Linda Behar seem painterly there is good reason. Her aesthetic intentions in these compact landscapes and still lifes recall the tenets of Impressionism. "I want to capture the particularity of light, color and atmosphere at one instant in time, yet give a sense of timelessness," she says. It's a tall order for embroidery, a medium whose dictionary definition includes the notions of embellishment and ornament. But as Monet had his haystacks and cathedrals in the shifting light, so Behar has her boulders and marshes.
" ...The entire suite of nine works [on Cape Ann], shown with several other pieces in 1997 at Mobilia Gallery, Cambridge, brings the lessons of the landscape painter to embroidery and demonstrates a luminosity and compositional scope only hinted at in Behar¹s earlier work."

"Beyond the surface," review of group show by Thomas Cobb, Willamette Week, Aug. 9-15, 1995. "Also on display at Acanthus are impressive, postcard-sized needlework landscapes by fiber artist Linda Behar. These minute --and minutely detailed-- depictions of the natural world use stitches the way Impressionist painters used brushstrokes: to call attention to the surface of the artwork while making us feel as if we are also seeing something beyond."

"Coaxing the unearthly from terra firma," by Nancy Stapen, Boston Globe, Sept. 28, 1995, review of solo show. "Behar's sensibility is painterly. She layers tiny stitches to convey the infinitesimal changes of color produced by light grazing form. There is something quintessentially female about these labor-intensive works, which speak of obsession, extraordinary attention to detail and reverence for life. Diminutive but remarkable, they invite the viewer to slow down and focus on the dual delights of nature and art."