Excerpts from articles and reviews are listed below. A complete listing of articles appears in the artist’s resume.

"Hers are not the idealized figures often seen in biblical illustrations, with hands clasped in prayer and angels protecting them. Instead, she offers humans who are bent with the burdens of life, their faces often showing anguish and fear, sometimes compassion, and often determination." Janet Purcell, The Times, Trenton, June 20, 2003.

"Printmaker and sculptor Margaret Adams Parker…crafts the characters in her works to look as human as possible. These aren’t botoxed movie stars surrounded by Botticelli angels — they’re authentic people with real expressions on their flawed faces, ragged clothing draped on their weary frames." Susan Van Dongen, Lawrence Ledger, May 15, 2003.

"Collaborations between artists and writers occasionally produce intriguing, extraordinary books, and the joint commentary of Biblical scholar Ellen Davis and printmaker Margaret Adams Parker has produced not only a new translation of the Biblical Book of Ruth, entitled Who Are You, My Daughter (Westminster John Knox Press, 2003), but also an exceptional portfolio of 20 woodcuts created in response to the new translation...

Although many great artists across the centuries have chosen Biblical texts as subject matter, when we think of images that emphasize the human gravity of Hebrew scripture, the names of very few artists spring to mind. Margaret Adams Parker has always been drawn to great art that plumbs the depths of the human consequence of divine purpose, the work of Rembrandt and Giotto in particular…" Pamela Hoyle, Spring 2003, Journal of the Print World. Read the entire article here.

On Parker’s exhibition, If I forget you, O Jerusalem: "In this most recent tragic time in this holiest of cities, Parker’s work is particularly urgent and poignant…Nearly every image refers to the Old City’s walls, which both encase and embrace the figures, all, we realize, potential victims of the recurring waves of violence in this place, the ancient Semitic root of whose name is, ironically, City of Peace." Rhoda M. Trooboff, Fall 2001, Journal of the Print World.

The Archbishop of Canterbury, George Carey, speaking about Parker’s sculpture of Mary (which he had just dedicated) at the College of Preachers on the grounds of Washington’s National Cathedral, noted that the sculpture presents "a profound study and provides a new theological angle on Mary." Susan E Pritchett Post, Virginia Episcopalian, May/June 2001.

"The sculptural version of ENOUGH! is on a par with Rodin’s Burghers of Calais, which the artist knows well from the Hirshhorn Sculpture Garden, and Frederick Hart’s Three Soldiers at the Washington Vietnam Memorial." Pamela Hoyle, exhibition catalogue for If I Forget You O Jerusalem, Washington Printmakers Gallery, November 2001.

"Going beyond picturing the figure for its own sake, Peggy’s current work shines a bright, incisive, honest, and sometimes disturbing light on what it means to be human. Her powerful prints and bronze sculptures often feature indigent, tormented, displaced, or mournful individuals. But far from being pitiable or pitiful, these people are portrayed as solid, substantive, compelling individuals, imbued with a spirit that allows them to survive. They cope with what life has dealt them, and their essential humanity illuminates compositions which could, portrayed in another way or by less capable hands, be exceedingly dark. In the tradition of artists like Daumier and Kollwitz, Peggy’s work is gently layered — but not burdened or heavy — with social, political, and sometimes religious content." Judy Pomeranz, from "Margaret Adams Parker, Focused on Life", élan, April, Volume 2, Number 6, 2001.

Nancy Reckler, writing about an exhibition mounted in conjunction with the Women’s Caucus for the Arts, in "Tough Issues in Women’s Art" (Feb 22nd, 1991, Weekend, Washington Post), describes Margaret Adams Parker's sculpture: "Two bronzed women sitting intimately on a bench define the strength of female friendships."