Georgette Gouveia, The Journal News, May 31, 2009
“Robert Spinazzola lives in Hastings-on-Hudson. But he began his career as a sculptor in Detroit, and his installation “Gates of Eden”—one of the highlights of the ArtsWestchester’s captivating new “Rubbish! Art and the Ecosystem”—is an elegy for the Motor City in the age of the No-Longer-Big-Three. In the steel and oil work, a wolf bares his teeth at Eden’s door, which turns out to be part of an unpainted, upside-down Chevrolet. It’s a brilliant metaphor for our times, really—at once familiar and unusual, visually succinct and viscerally on the money.”
 

D. Dominick Lombardi, The New York Times, July 4, 1999
“Robert Spinazzola ... His work art has a distinctive dynamic, a quality that is amplified by the complexity of the objects used ... more lifelike that one might expect from a art comprised of machine parts and tools, a distinction that can be traced to Mr. Spinazzola’s attention to detail.”
 

Vivian Raynor, The New York Times, October 26, 1997
“Mask like forms hang on the walls; birds, animals and figures stand on the floor—all of them deft combination of rods, threaded pipes, nozzles, tools and fragments of metal sheeting.”
 

Carolee Ross, The Journal News, May 24, 1992
“Detroit Ca Va, Spinazzola welds found objects ... They are assigned new life. emerging consecrated: as art with an ominous message. The specter of his decaying hometown is portrayed as a skeletal horse, stripped down to bare bones, running on a wheel which represents both machine and the failing American auto industry.” 
 

 Kenworth W. Moffett, Moffett’s Art Letter, Volume 1, Number 7/8, 1986
“The most exciting work I saw was the full-size horse done in welded steel by Robert Spinazzola. It was far better than the “modernist” horses of Deborah Butterfield or Elizabeth Frink. Spinazzola uses steel pieces to make a very open, three dimensional outline drawing of a horse that captures the powerful presence of a real horse. The vocabulary couldn’t be more abstract and Spinazzola demonstrates how very figurative “abstract” sculpture can be. His piece made me think of David Smith’s benches and wagons, other abstract sculptures that are also fully representational. But Spinazzola’s work is of an organic subject (and a formidable one at that). This is new, and I think Spinazzola is very original.”