“诗歌自身并非超越事物而存在；对诗歌而言，任何事物都是严肃的，独特的，无可比拟的”（卢卡奇，《心灵与形式》，1911）。这一观点同样适用于张慧的艺术创作。她在作品中生动描绘了事物的这三种特性，批驳抹杀事物存在性的观点。看似随手拈来的题材，通常都是对称感极强，犹如特写镜头中着重强调的单一性画面。

画面在具体性状的隐藏与表明之间游移不定。由此张慧避免了抽象或具象的归属问题--独具慧心的游走在两者之间。

张慧深知事物，场所和时间超越图像自身的本质。在艺术家构建的图像空间内，这些元素焕发着熠熠光辉，无比庄严神秘。（托比亚斯·鲍克，艺术评论人）

"Poetry in itself knows of nothing beyond things; for it, everything is serious and unique and incomparable" (Georg Lukács, "Soul and Form", 1911). It applies the same to the painting of Zhang Hui. She picturesquely traces that same triad of things in her work. It is the disappearance of things that she refutes in her paintings. Be it an old broom made from chicken feathers, an open wagon, a table top or a kettle: in Zhang Hui's paintings, they are equally worthy of depiction.

The images oscillate between revealing and concealing concreteness. Zhang Hui avoids the intention of artfully assigning to the abstract or the representational subject - and moves nimbly between both genres.

Zhang Hui understands the finite nature of things, places and moments beyond images. In her constructed image space, she gives them their own shimmering, serious and incomparable mystery.  (Tobias Bock, Art Critic)