- 麥惠珍，《複製、演化與生成：林珮淳夏娃克隆系列展於國內外美術館與國際影展大放異彩》，非池中藝術網藝術評論，台灣，9月份，2025年。連結：https://artemperor.tw/focus/6746
- Mai Hui-Jean, “Replication, Evolution, and Generation: Pey-Chwen Lin’s Eve Clone Series Shines in National and International Museums and Film Festivals”, Art Emperor, Taiwan, September, 2025. Links: https://artemperor.tw/focus/6746?page=2
- 李美華，《最熟悉的陌生人：來自林珮淳的夏娃克隆萬湖會議 I 》，非池中藝術網藝術評論，台灣，10月份，2024年。
連結：https://artemperor.tw/focus/6209 - Luchia Meihua Lee, “The Most Familiar Strangers From Pey-Chwen Lin’s Eve Clone Wannsee Conference I”, Art Emperor, Taiwan, October, 2024
Links: https://artemperor.tw/focus/6209 - Catalog of 2024 Pey-Chwen Lin Solo Exhibition, Island Sunrise, Governors Island, New York, USA
- 黃海鳴，《跨時空跨文化的巴別塔魔獸現形記 ─林珮淳《夏娃克隆巴別塔I》影片閱讀與緣起回溯》
- 跨時空跨文化的巴別塔魔獸現形記 ─林珮淳《夏娃克隆巴別塔I》影片閱讀與緣起回溯，非池中藝術網藝術評論 ，台灣，2024/05/21
- June Howell，《專訪/數位藝術教母林珮淳創造隨科技不斷進化的「夏娃克隆」，引導人對現代文明反思》，「凝聚影響力/Front and Female 」，Tatler, 2024年3月18日
- June Howell, “Interview/Digital Art Mother Lin Pey-Chwen. Her works “Eve Clone” Series are Evolving Continuously with Technology Development. Guiding People to Reflect on Modern Civilization”, ‘Concentrated Influence/Front and Female’, Tatler, March 18, 2024
- 陳儀珈，《科技藝術：啟發性別、身份與視角的視覺反思》，《科技魅癮》，「國科會 × 泛科學」數位季刊，國科會，台灣，2023年。
- Audrey Chi-Wen Tu, “New media artist Lin Pey-Chwen was invited to participate in the ‘Spotlight Taiwan Lecture"’ at the University of Edinburgh, where she shared insights and societal reflections from her work on ‘Eve Clone.’”, Art Emperor, 2023
- 杜綺文，《新媒體藝術家林珮淳受邀參加愛丁堡大學「台灣光點大師講座」，分享「夏娃克隆」啟示與警世》，非池中藝術，台灣，2023年
- Hai-Ming Hung, “Repetitive Variations of Different Babylons and Babel Towers—Reading Pey-Chwen Lin’s ‘Eve Clone Babel Documentation I, II’ and other new works, Art Emperor, Taiwan, 2023
- 黃海鳴，《不斷反覆的不同巴比倫城與巴別塔 ─ 閱讀林珮淳《夏娃克隆巴別塔創造文件I、II》等新作》，非池中藝術網，台灣，2023/10/26
- https://artemperor.tw/focus/5687
- 黃海鳴，《面對被世俗知識權力慾望等腐化 / 頂替的昔日 聖山聖城 ─閱讀 2020 台南美術館〈夏娃克隆啟 示錄─林珮淳‧數位藝術實驗室創作展〉 》，台灣，2020/12/17
- https://artemperor.tw/focus/3686
- Pey-Chwen Lin, “Revelation and Notification of Pey-Chwen Lin’s New Media Art ‘Eve Clone’ Series, ‘2023 Spotlight Taiwan Lecture’, Edinburgh College of Art, The University of Edinburgh, Scotland, September 21, 2023
- 陳明惠，「身體宣言：林珮淳個展」，《林珮淳個展身體宣言畫冊》，大象藝術空間館，台灣，2020年，5 ～9頁
- “Body Manifestation-Pey-Chwen Lin Solo Exhibition Catalog”, Elephant Art Space, Taichung, Taiwan, 2020
- LIN PEY CHWEN: CYBERFEMINISM IN DIGITAL ARTS, ADA ARTIST & SCHOLAR FEATURES, Archive of Digital Art, Text & Interview by Alejandro Quiñones, September 2022
- 謝慧青，《女性新媒體藝術家的性別況困境（1）林珮淳：複製夏娃的出生、毀滅與重生》，台灣數位藝術網，台灣，2022
- 2019義大利佛羅倫斯雙年展林珮淳作品「夏娃克隆創造計畫系列」畫冊（榮獲義大利第12屆佛羅倫斯雙年展「新媒體藝術類」全球首獎「羅倫佐獎第一名」大獎）Catalog of Pey-Chwen Lin:Making of Eve Clone, Italy XII Florence Biennale, B.B.ART/Taiwanese American Arts Council，Taiwan/USA, 2019（won the First Prize of New Media Art in 2019 Italy XII Florence Biennale of International Award “Lorenzo I’ll Magnifico”）
- 謝慧青，《複製夏娃的出生、毀滅與重生》，「藝術與科技」技術型高中課本下冊，育才出版社，台中，2021年，188-197頁
- 曹佳榮，《林珮淳「夏娃克隆」台灣唯一躍登義大利當代藝展》，經濟日報，台灣，2022.03.25
- Turner, Ming (2021). ‘Technological Art and the Borders of Sexuality and Gender in Taiwan: A Case Study of Pey-Chwen Lin’ in Gladston, Paul, Beccy Kennedy-Schtyk and Ming Turner (eds.) Visual Culture Wars at the Borders of Contemporary China: Art, Design, Film, New Media and the Prospects of ‘Post-West’ Contemporaneity. London: Palgrave Macmillan, pp. 225-244.
- 邱誌勇，《在美麗的誘惑中尋求共生 —林珮淳《夏娃克隆製造計畫》對科技的批判與反思〉，台新基金會「藝論紛紛」專欄，2017
- 許茗捷 ， 科技詮釋的女性：作用力與反作用力 ， 觀後感-夏娃克隆啟示錄：林珮淳 數位藝術實驗室創作展， 2020
- 鄭芳和，正說話的主體 ， 林珮淳的夏娃克隆，林珮淳 ，《源雜誌》， 2014
- Body Manifestation , Pey-Chwen Lin solo Exhibition , 2020
- Ming Turner, “Visualizing post-human and cybersexuality : Lin Pey- Chwen and the Eve Clone series" , East Asian Journal of Popular Culture Vol.2 , No. 2, 2016, page 227-245
- Ming Turner , “Quasi-skin and post-human Lin Pey Chwen ‘s Eve Clone”, n.paradoxa international feminist art journal , 2012 , p.33~p.39.
- 張學孔，《林珮淳-夏娃克隆系列》台北當代館，新苑藝術個展畫冊，新苑藝術，台北，台灣，2012 , Richard Chang(Ed), Solo Exhibition Catalogue of “Lin Pey-Chwen Eve Clone Series”, MOCA Taipei, Galerie Grand Siècle, Taipei, Taiwan, 2012
- 曾鈺涓，〈虛擬自然的真實困境—談林珮淳「人工生命—回歸大自然」系列作品之美好幻影〉，《美育》3/4月刊，國立台灣藝術教育館，台北，台灣，2005 , Yu-Chuan Tseng, “Real Predicament of Virtual Nature:Talk about Lin Pey-Chwen’s ‘Back to Nature Series’, National Taiwan Arts Education Center, Fine Arts Education Bimonthly Journal, Taipei, Taiwan, 2005
- Hai-Ming Huang,Confronting the corrupted powers aiming to destroy the Holy Mountain and City, Reading the 2020 “Eve Clone Revelation- Pey-Chwen Lin + Digital Art Lab Exhibition”, Tainan Art Museum, 2020
- Pey-Chwen Lin, “Art Statement of Pey-Chwen Lin’s works”, Biennial Edition of Peripheral ARTeries Magazine, 2019
- 黃海鳴，《面對被世俗知識權利慾望等腐化:頂替的昔日聖山聖城 ， 閱讀2020台南美術館「夏娃克隆啟示錄-林珮淳數位藝術實驗室作展」》 ， 非池中藝術網藝術評論 ， 台灣 ， 2020/12/17
- Prof. Chih-Yung Aaron CHIU, Cautionary Scenes in the Age of Digital Reproduction: Lin Pey-Chwen’s Critique of Technology Era in Making of Eve Clone III Series, DIGIART Net, National Taiwan Museum of Fine Arts, 2019
- 嚴瀟瀟，《林珮淳：書寫一部賽伯格演化寓言集》，今藝術雜誌，12月，2020年，頁54-57
- 「夏娃克隆啟示錄-林珮淳數位藝術實驗室創作展」畫册/台南立美術館
Catalog of “Revelation of Eve Clone:Lin Pey-Chwen Digital Art Lab Exhibition “ ,Tainan Art Museum - Ming Turner,《Quasi-skin and Cyberfeminism: 2020 Eve Clone Series by Pey-Chwen Lin》
- 陳明惠，《擬皮層與數位女性主義：林珮淳2020年《夏娃克隆系列》》
- 陳明惠，《夏娃克隆啟示錄展覽評介》
- 蔣嘉惠， 《與「夏娃克隆」共生 – 林珮淳的身體宣言藝術家》No.537_藝術家評介
- 陳明惠 ， 《性別、科技、藝術 – 兼論林珮淳的夏娃克隆與當代美學》No.529(2019年6月號)數位藝術專欄
- 陳明惠，《性別、科技、藝術： 林珮淳的夏娃克隆與當代美學》
- 邱誌勇，《數位複製下的警世圖景： 林珮淳在「夏娃克隆創造計畫III」系列創作中對科技世代的批判》
- 邱誌勇，《是神的意旨，抑或是人的慾望：林珮淳《夏娃克隆系列》中的反諷與批判性》
- Chih-Yung Aaron Chiu, “God’s Will or Human Desire The Irony and Criticism in Lin Pey-Chwen’s Eve Clone series”
- Fang-Ho Cheng, “Speaking Subject—Lin Pey-Chwen’s Eve Clone”
- 鄭芳和，《正說話的主體—林珮淳的夏娃克隆》
- Chong-Ray Hsiao, “God’s Inspiration and Human’s Creation—Lin Pey-Chwen’s Eve Clone Series”
- 蕭瓊瑞，《天啟與創生──林珮淳的夏娃克隆系列》
- Pey-Chwen Lin, “Revelation ．Notification – Research Solo Exhibition by Lin Pey-Chwen
- Cheng-Yu Pan, “The Gaze from the Apocalypse”
- 潘正育，《來自末世的凝視：林珮淳﹝夏娃克隆肖像﹞作品評析》
- Luchia Meihua Lee and Ken Howell, “A Clarifying Aspect of the Recreation of Nature: Sence of Peychwen’s Artificial Nature”
- Pierre Martin, “Lin Pey Chwen Installation Catching at MOCA Taipei: an Installation wortg experiencing”
- Susana Pérez Tort, “Semiótica de dos obras Multimediales”
- Susana Pérez Tort, “Multimedia Semiotics of two works of art”
- Antoanetta Ivanova, “Alien Beauties: the haunting world of Pey Chwen Lin’s Eve-Clones”
- Jane Tseng, “The Birth of Eve Clone – Technological Satire of a Genetic Reproduction Laboratory”
- Chieh-Hsiang Wu, “The Transgressions of Aesthetics: Lin Pey Chwen Eve Clone Series”
- Susana Pérez Tort, “Pey Chwen Lin—The Portrait of Eve Clone”
- Ming Turner, “Quasi-skin and Post-religion: Lin Pey Chwen’s Eve Clone series, 2010-11”
- Li-chn Lin, “ Tao and Tech—Reflection on Viewing Lin Pey Chwen’s Exhibition”
- Hongjohn Lin, “Interpassivity within a Clone”
- Chih-Yung Aaron Chiu, “Eve Clone Series Critiques and Satirizes the Creations of the Technological Age”
- Gwen Kuan-ying Kuo, “From Pupa to Eve Clone: Lin Pey-Chwen Empowering Femininity”
ART CRITICS
PAPERS
Review Excerpt
Lin, Pey-Chwen 