"These institutions are a reminder that exciting art is being made and shown all across the country — and of the benefits of going local." Article features Et al Gallery and an image of my piece for my upcoming show. 2021.

Panel discussion via Recology AIR program hosted by Victor Yanez-Lazcano, in conversation with Terry Berlier, Abel Rodriguez, Jamil Hellu and Cybele Lyle. 2021.

Video of/about working from home during pandemic, produced by Orange County Museum of Art, 2020

Review of The Desert in Four Parts by Kelly Kirkland, 2018

"Lyle’s work, I argue, is not located in the layers of fabric and paint but rather between them, in the gaps between past and present, absent and present, and history and memory."

Los Angeles Times review of Building As Ever by Christopher Knight, 2017

"In this vibrant if precarious space, rudimentary sculptures attempt to stand up and elementary paintings try not to fall... Lyle’s wobbly romantic space houses the fragility of the heart, as well as the mind."

Review of Building as Ever by Susan Morgan, 2017

"...continuing in the tradition of the late minimalist sculptor Fred Sandback, Cybele Lyle’s spare wooden sculptures employ reductive strategies to incise space and alter perception."

Review of Are you me or are you a stranger at Recology by Sarah Hotchkiss, 2017

"The process of determining when objects that once belonged to others are “hers” is a process of not just rejecting society's binary structure, but of exploring her truest self."

Photographs of residency at Recology, 2017

Review of Bring me here, now take me away by Ryan Kost, 2016

"Through a combination of projections, sculptures, fabrics and photographs, Lyle has reimagined spaces, queering them, redefining them. It’s a radical act, particularly in a world that frequently asks the other to conform to the way things are."

Reflection on Cybele Lyle's work by Jennifer S. Cheng, 2016

"Lyle’s kaleidoscopic refractions of walls, rooms, doors, landscapes, and frameworks shift the very building blocks through we see, move, and shelter ourselves in the world. By intertwining the literal and symbolic, blurring its assumed hierarchy and incorporating this into her art, Lyle calls into question the normalized boundaries of our conventional conceptions of what is “standard” or 'foundational.'"

In store project/installation at THE THING, 2016

Photographic studio visit of Cybele Lyle's project at the Headlands Center of the Arts by Aaron Wojack Photography, 2016

Interview with Cybele Lyle by Tanya Gayer, 2015

Zachary Keeting and Christopher Joy video studio visit with Cybele Lyle, 2015

Essay written for show The Moon is Slowly Rising, by Jackie Clay, 2014.

"More than just an aesthetic gesture, by unmaking portions of her practice, Lyle requires us the viewers to share n the labor of resolution."

Review of The Moon is Slowly Rising by Sarah Hotchkiss, 2014

"Rooms end in corners, frames open up to hilly views. With each layering, Lyle presents new, alternative spaces wholly her own."

Review of The Moon is Slowly Rising by Heidi J. De Vries, 2014

"In the process of creating this work Lyle has turned her artistic practice inside out and laid it bare for anyone who cares to look, and it is a beautiful sight to behold."

Essay on Cybele Lyle's work, with focus on Shifting Spaces by Levitica Neue, 2012

"Lyle's [artworks] undermine the iconic imagery of photography and the rigidity of architecture by abstracting them into new textures and configurations, which viewers can agree to inhabit in many ways."

Studio visit/interview with Klea McKenna and Nikki Grattan, 2012

"So much of Cybele’s work reconfigures our perception of architecture and landscape— she plays with where a wall should come up or go down, whether or not a window should look out of a building or into a hillside, and how permanent or impermanent these constructions actually are. In her work is the idea that roofs, windows, doors, and walls literally and metaphorically “frame” our experiences, and that within the delineations of architecture we can be made to feel like outsiders or insiders, safe or vulnerable, free or contained."

Review of Space, Time and Architecture show at Royal Nonesuch Gallery by Christian L. Frock, 2012

“The work is both collaborative and revisionist; a reflection on the imperative to study and respect old models -- before destroying them to create anew from the pieces.”

Review of Run Off at MacArthur B Arthur by Maggie Haas, 2011