- 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
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