Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes
ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic
pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind
early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.