Center for Inquiry/Transnational’s Retrospective of Tony Paterson’s Work entitled “Sex, Bronze and the Human Form” (read the entire review here):

[Paterson’s] current exhibition may be a case in point in a wider argument for a vision of challenging art for a contemporary audience that includes such sculpture. Paterson rewards you with his stylized vocabulary of female forms, distorted pieces that challenge our notions of confinement, and, to tie all the disparate pieces together, a refined technical skill that’s impressive on its own, much of Paterson’s work would be compelling in a bus terminal. This show, and his body of work in general, shouldn’t be simply consigned to history.
— Colin Dabkowski, Buffalo Evening News

Gallery Exhibition at the Tragos Gallery on Newberry Street, Boston:

As for Paterson, he comes on strong in his sculpture. His bronzes range from oh-so-solid portrait heads in a fairly traditional even classical mold, to shimmering polished bronzes of shroud-like figures topped by featureless, skull-like heads. This move from personal representation to a depersonalized commentary on the anonymity of man mirrors, in capsulated form, [is] so much of what has happened in the art world of today. Throughout, his craftsmanship is of a high order and his more abstract polished bronzes are handsome to behold.
— Edgar Driscoll; Jr., Boston Sunday Globe

Works chosen by Charles Addams at the American Federation of Arts Gallery for a show entitled The Dark Mirror:

[In this exhibition] the paintings as a whole are inferior in quality and invention to the sculpture. In the latter group, Anthony Paterson’s “Shelter” represents a human being in a state of semi-annihilation, stimulating feelings of authentic pity.
— Stuart Preston, The New York Times

Patteran Exhibition at the Albright-Knox Art Gallery:

The Patteran Artists exhibit at the Albright Knox Art Gallery looks quite at home with the contemporary works in the permanent collection facing it. “1-2-3” by Anthony Paterson was outstanding... an excellent metal sculpture.
— D. K. Winebrenner, Buffalo Courier-Express

Begegnung mit Buffalo Show at the Artists’ Committee Gallery after traveling to Dortmund, West Germany:

There was cause for celebration complete with champagne [on the return of this show]... Many of Buffalo notables are represented... Paterson’s The Offering is an especially striking piece of highly polished bronze. An amorphous shape seems to give birth to two human-like figures who struggle to free themselves in a striking contrast between detailed and generalized areas.
— Brenda Preisner, Buffalo Evening News

Ridge Lee Campus Art Exhibit at SUNYAB:

Successfully explosive intellectually is Paterson’s small plaster study for a larger work, “Soft Form, Female.” Provocatively and frighteningly, Paterson plays with human forms creating totally human freaks of nature. It frightens because to visualize the impossible, brings it into the realm of possibility.
— Nancy Tobin Wilig, Buffalo Courier-Express

Review entitled “At Faculty Show, Paterson Work Stands in a Class by Itself”:

There’s no overlooking the blatant sexuality of Tony Paterson’s diminutive cast bronze sculpture. It doesn’t take too long to see his inspiration is spurred by the female of the species or his sadistic suggestions: a form encased by a gnashing set of spiked teeth; another torturously strung up by hooks... Nothing is ever so specific as to be grotesque or truly offensive, however, as the artist seems, rather, to keenly relate his work to ancient fertility figures.
— Brenda Preisner, Buffalo Evening News