The work hinges on a semantics of luminous exposure, a self-reflexive mode of production whose facture quietly resonates with the ineffable horror of annihilation wrought from the unleashing of the atomic bomb on the people of Hiroshima (and later Nagasaki) in 1945. – Amy White, Burnaway, 2014

 slavick not only uses photographic materials in almost all of the pieces on display, including paper collages made on film holders and photochemical drawings made with film developer on photo paper, the work also references what is called indexicality. Her photographic contact prints of rubbings of atomic-bombed trees are connected to those trees in a one-to-one relationship—they “index” the trees as my footprints index my steps or as smoke indexes fire. – José Antonio Arellano, Daria, 2022

The radical politics of Bomb After Bomb are anything but naïve. With lamentable irony, o’Hara slavick implicates herself as a “war-tax-paying citizen of the bombing nation” and questions the anti-democratic policies of the US while celebrating the freedom of expression and safety enjoyed there. This is an ambivalent outlook but, ultimately, a hopeful one. – Andrea Fitzpatrick, Border Crossings, 2007​

elin o’Hara slavick photographs survivors of the atomic bombing of Hiroshima. Not human survivors but objects that factor into everyday life — bottles, brooms, combs — and emblematize their users. Technically, the pictures are photograms, direct traces of the physical objects themselves. What Slavick produces are ghosts, haunting images from a past that, to paraphrase Faulkner, is neither dead nor past. – Leah Ollman, LA Times, 2013