"The book's images were selected from more than four decade's of Leipzig's assignments for magazines such as Fortune, Look, Parade and The New York Times Magazine. The subjects range widely - from underground coal miners in Virginia to a community of Ethiopian Jews to winter fishing in the North Atlantic, to name a few. But it is Leipzig's photographs of children that tell us the most about him as a caring, compassionate photographer. Whether photographing children at play (he began his first self-assignment and photo essay, Children's Street Games, in 1943 and continued working on it through the 1960s), children in hospital or children found in a variety of situations around the world, Leipzig caught their moments of joy, sadness and contemplations eloquently through his camera lens."

- ASMP Magazine

"I am going out on a limb here and say that he photographed the children of New York better than any other photographer, Helen Levitt included... It's not just that the pictures are extraordinarily composed; it is the sense of powerful freedom and great respect they captured."

- David Schonauer, American Photo Magazine, May 2007

"We can't see how far they are jumping, but we have the sense that it is from a very high distance. The boys leap with abandon, one following the other in perfect order, captured in mid air. Their lovely, boyish bodies are gazelles in flight, but their swimsuits and haircuts, plus the date on the photograph, tell us it's 1948, just after World War II. They appear to be teenagers, too young to have been soldiers. Maybe their fathers have just returned from overseas, or maybe some of their fathers have not returned at all. There are corner candy stores, the overhead El, and neighborhoods where everybody is Black, Italian, Irish, or Jewish. It's a different time, and Leipzig has preserved a consummate moment of boys before they became men, when they were free to spend a sweltering afternoon diving in the river. Do boys still swim in the East River? Given what we now know is in it, I hope not."

- Photo Metro, Feb 2000

"Leipzig was initiated into the field through the humanistic instruction of the Photo League, and his pictures are far less about material conditions than about the architecture of human relations. He focuses frequently on urban children at play, turning a stretch of pavement into a chalk-lined carnival or a mailbox into a comfy perch. Their resourcefulness reads as a profound lesson in the value of spontaneity, energy, openness. Leipzig's work is street photography of the highest order, a torrent caught midstream, an urban ballet played out one frame at a time."

- Los Angeles Times, July 10, 1998

"Leipzig captured images that show a New York with a gentle soul. Surely, he witnessed his share of depressing scenes - ugly labor riots and people living in coldwater flats - but this book focuses mainly on the strength of humanity."

- The Sunday Star-Ledger, January 28, 1996

"Leipzig's art appears to be so limpid and direct that it can only be the result of exquisite preparation...Many of the photographs in this book were taken on assignment for magazines and newspapers; others, says Leipzig, such as the wonderful and justly famous Sleeping Child, "...suddenly presented themselves, demanding to be captured." A beautiful book, unpretentious and haunting."

- The Art Book, Dec. 1996 (London Review)

"Some of his most memorable photographs are of faces at close quarters. The young girl at a window running with rain is a marvelous insight into the subject. The face has a hauntingly pensive look. While the facial features are highlighted along with the girl's torso, the hair is suggestively obscured, and the mystery suffusing the photograph is enhanced by lurking background shadow. This photo may not be a particularized documentation, but it leaves a compelling impression, at once peaceful and disruptive."
...
"Mr. Leipzig can be funny as well as serious, as in an amusing photograph of a formally attired man on a seesaw at Jones Beach. Some of his landscape studies, such as of Boulder Creek, revealing his interest in the drama of abstract shapes, are quieting like tone poems."

- New York Times

"For years he was a photojournalist, always with a focus on people, which is why the university prize notes that his "creative photography reflects both a special competence and sensitivity. His sustained contributions to his discipline have maintained the integrity of his humanistic concerns. Mr. Leipzig's work is energizing, ongoing, and compassionate."

- Newsday

"Compared with many of the other photographers of the 40s and 50s who were shooting on the streets in New York City, Arthur Leipzig is unequaled in the way he tracked down fleeting, candid gestures and redefined them as pictorial archetypes. But like his contemporary (and fellow New Yorker) Helen Levitt, he can't really be considered a news photographer in any traditional sense."
...
"With his attentive eye for the composition, framing, and the poetry of his images, Leipzig never possessed the true photojournalist's hunger for the front page easy winner."

- Zoom

"Much of Leipzig's success comes from the way he often blends engaging personality captured off-guard, a story worth remembering and a dynamic composition. There is tremendous energy in 'V.E. Day, Times Square, 1945,' but there is an equal amount of intensity in the tightly knit pile of student faces in 'Hebrew Class, Benker, Ethiopia, 1979.'"

- New York Times

"Mr Leipzig has specialized in pictures of people---from the New York subway to an Ethiopian classroom and a Honduran jungle. Renowned for his photo-essays on urban life, the performing arts, Jewish communities around the world and other social themes, Mr. Leipzig is also a master of landscape photography. Although less familiar than his black and white journalistic and documentary work, his scenic views of Niagara Falls, Glacier Bay and Death Valley demonstrate a sensitive nuanced handling of color and a gift for formalistic composition."

- New York Times