Cubans Making a Lot Out of a Little
Ms. Mora's subject in paintings, drawings and photo-collages is the female body and soul, and she seems to serve her observations directly from her own subconscious. "It interests me to take woman as universal data, "she has said". This way I can talk about a thousand things: life, death, loneliness, sickness". Ms. Mora's mother moved to Miami three years ago, and much of the pain in Ms. Mora's work seems to derive from the sorrow of separation, a common situation in Cuba and one exemplified by the Elián González story.

Annette Grant, The New York Times, June 11, 2000

Visiting Elsa Mora's
Elsa Mora has resorted to every style, sign or language in order to set up a dialog with the receptor. Therefore in dealing with her art it is essential to attenuate those defining schemes, in the same way it is done when dealing with people for Elsa's works breathe, grow, beat just as living organisms do.

I will not dwell on the mystery, wonder, magic or the other appellatives used to interpret her work for I consider they enhance the most widely spread stereotypes applied to Latin American art and particularly to that of women artists. These elements reduce her work to a manifestation that could be either mystic or intuitive, though most of the time it is artifice like (not to say artificial).

Elvis Fuentes Rodríguez, The Gazette of Cuba, 1999

Elsa Mora
Reviewing the artwork of Elsa Mora 's has always meant a kind of pleasant challenge as it stands out in its uniqueness and is particularly relevant in the current scene of Cuban visual arts.

Her work does not admit to be simply fitted into the multiple tendencies or styles converging in the Island, possessing an excellent métier, Elsa unfolds and lets us into an amazing and challenging wold of images, setting visual traps for us as if art were but a game to be played only by the artist.

Magda Ileana Gonzáles, Centro Wifredo Lam, Havana, Cuba, February 11, 1999