Tennessee Williams. Baby Doll. New York : New Directions, 1956

“Lustig Cohen first began to make her presence felt in the 1950s, part of that generation who, though living in America, still kept up a dialogue with Europe, a generation for whom modernism was not a cloying tradition to be evades but a tradition to be expanded. Or at the very least a tradition to be admired... and then to do otherwise. In Lustig Cohen's case, a direct link with this lineage was provided by the Bauhaus polymath Josef Albers, a friend of her first husband, the legendary designer Alvin Lustig. With Alvin Lustig she formed a design partnership, which she continued solo after his early death in 1955.”

Trevor Winkfield. "A room of shapes". In The geometry of seeing: the art of Elaine Lustig Cohen, 1966-2007. New York: Pavel Zoubok Gallery: Julie Saul Gallery, 2007