A single cherry, rising up on a pedestal with its graceful stem and gleaming rotund surface, projects a quiet, simple beauty which too easily goes unnoticed when it is jammed into supermarket stalls or gobbled up at picnics. Made of gauze, plaster, pigment, paper pulp, and wire, Ming Fay's sculptures are meticulously crafted. Their imposing sixes and curvaceous shapes bring humor and an awareness of the sensuousness in natural objects.

Roberta M. Schwartz, "Introduction Essay," in Still Life and Its Borders (1990)