Mark Rosenthal of University of California's Berkeley Art Museum Pacific Film Archive commented in 1978 that in Williams' collaboration with Jon Borofsky, "the artists worked on each other's images in the manner of participants in a jazz rhythm section who respond to one another's musical thoughts, alternately leading or following.
[4] By 1993, Roberta Smith of The New York Times characterized her work as "figurative political art", comparing the "animated autonomy of her lines" with that of Betsy Friedman Murunashi-Lederman and Nicole Eiseman.
[5] The Santa Monica Museum of Art 1990 description of Williams' wall drawing, Totem, pointed out she "took advantage of the freedom of working on a large scale and in an ephemeral situation".
[7] In 2008 he observed that Williams' practice was "turning the inner outward", a defining characteristic of her work, noting she "substitutes the goofy for the surreal, effecting what is indeed a kind of expressionism, but one that is as self-effacing and comic as it is assertive and heroic.
"[8] In 2008, critic Holly Myers of the Los Angeles Times described Williams' style as "unmistakable": using cartoonish forms such as human figures and anthropomorphized buildings; suggesting "rubbery agility, giddy pictorial buoyancy and an often furious sense of internally generated motion".