"Seinberg speaks to us in an unorthodox but not unfamiliar language, a kind of disembodied impressionism where the identity of things is of less significance than is their texture, their contour, their bulk. From one point of view, at least, this is a knowingly approximate apprehension of the world, certainly in visual terms. It bespeaks a blunted sight on our part, a constrained optical cognizance whose very inexactitude is what makes it revelatory. Haze and precipitation heighten somatic awareness even as they compromise visual apprehension. In this regard Seinberg continues a tradition of western spatial painting that goes back at least as far as J.M.W. Turner and Barbizon and Barbizonesque practice (e.g. tonalism), reaches another apogee in Impressionism, and suffuses throughout modern painting, coming most stunningly to the fore in the affective abstraction of artists such as Mark Rothko, Helen Frankenthaler, Morris Louis, Joan Mitchell, and, in a different way, Cy Twombly. "
Peter Frank, 2022