The proportions of each are as deliberate, if not as overweening, as the museum’s spaces. The coloration of Susanna and Eileen—an emphatic and velvety white—might transform MoMA’s refrigeratorlike ambience into something like the Parthenon. That’s a stretch, but Mr. Grausman’s profound debt to the art of antiquity renders it not altogether inappropriate. Susanna and Eileen have been shaped with a silky emphasis on idealization—contours slope elegantly, symmetry quietly emphasized, with facial features stoic and streamlined. Though Mr. Grausman’s industrial material retains a certain artificial patina, it ultimately recalls the quarry rather than the factory. A tendency toward abstraction—universality, really—underlines the artist’s belief that art can traverse and find meaning within cultures the world over. Grausman’s work is remarkably amenable to public spaces—his sculptures are a highlight of the Pratt Institute’s on-campus sculpture park. But just because the sculptures look great surrounded by trees and under the clouds doesn’t mean they wouldn’t look great indoors. MoMA could do worse—and, in fact, has—than feature Susanna in its atrium gallery. The piece’s free-standing integrity pretty much guarantees that it could withstand practically any surrounding—animate it, too. After all, the best works of art become contexts." Grace Glueck wrote in "The New York Times" (June 19, 1998), “Sculpture portraits stripped to essence are Mr. Grausman’s forte. Concentrating on volume and form, eliminating inconsequential details, he models faces of expressive vitality by emphasizing their structure and contours. His surfaces are integral to the work: metal, pewter, aluminum and stainless steel in gray tones that add to the distinction of these streamlined but powerful presences. Mr Grausman’s drawings of nudes, eloquent essays in pure line, are, like his sculptures, distinctive for what they leave out.” Michael Brenson wrote in "The New York Times" (November 20, 1987), "Mr. Grausman has described his heads as landscapes, and indeed his aluminum seems to sprout and swell like trees and fruit. In looking for a way of extending the tradition of sculpture from nature, he has found a surprising path." Hilton Kramer wrote in "The New York Times" (October 5, 1979), "The portrait sculpture of Philip Grausman is quite unlike anything else on the contemporary art scene today.