When one of her works was included in a group show at Betty Parsons in March 1952, the New York Times critic Howard Devree compared it with Nell Blaine's «intricate upbuilding» in a scene suggestive of mountains, stating: «Perle Fine's canvas has reached the utmost in economy in two areas of bluish - green bordering a
sweep of
white as if the shadow of a
cloud had all but obscured a landscape.»