张东红使用了一种大面积的虚空与局部堆积的画法，这不仅仅是一种源自于绘画技法上的对比手法的运用，它还是一种画面情绪调动的方式，能在一片的虚空之中，紧紧地攥着观者的情绪，使他们能找到一个抵抗这种虚空的落脚点。同时，这种视觉上的堆积还是一种情绪上的纠结。
             ——吴鸿
Zhang Donghong uses a kind of painting skills of large area hollowness and local accumulation. It is not only an application of comparison of painting skills, but also a way to inspire emotion, which can grasp the viewers’ emotion among the hollowness and help them find a landing point against this hollowness. Meanwhile, such a kind of visual accumulation is still a kind of emotional knot.
                                             Wu Hong
　　在艺术史上，古典的静穆与现代的喧嚣的审美对立，在张东红的作品里，却转换为现代的静穆与喧嚣的双重精神向度，从而在精神层面融化了现代性与传统性的对抗。……在他看来，艺术精神的现代性与传统性乃是共在的关系。即使在当代多元的艺术图式喧哗的时代，艺术家也能够成就作为一种艺术精神向度的现代静穆之美。事实上，现代的喧嚣并不可怕，因为，和人心对宁静的渴望一样，喧嚣源于人性的内在矛盾的规定性。这就是我们为什么能够在同一个艺术家张东红的作品中看到这种双重精神向度共存的原因。
　　            ——查常平
　　In art history, ancient aesthetics of quietness opposes modern aesthetics of noise. In Zhang Donghong’s works, it was just transferred into double spiritual direction of quietness and noise, to melt modern and traditional spiritual confrontation….In his view, the relationship between the modern and traditional characteristics of the art spirit is right the co-existence. Even in such a noise art graphic times, the artist can still achieve a kind of modern quietness beauty of art spirit. Actually, modern noise is informidable, for just like people’s yearn for quietness in deep heart, noise originates from the inside contradiction of humanity, which is also why we can see such a double spiritual direction coexisting in the artist ZHANG Donghong’s works.
　　                                                 Zha Changping

     从上世纪九十年代以来，一大批中国艺术家对这种发生在自己身边的巨大变化做出了应答。尽管都是对变化的应答，但不同的人所采取的方式却是各不相同的，有直接对社会现实采取再现和复写的玩世和反讽手法的，有从媒介材料层面入手进行语言解构的，有融合媒介解构和反讽两种手法的，基本上是以现实存在的现实为艺术表现的对象和题材的。相比之下，张东红的应答方式显得更加个人化也更加主观化，而且主观得到了一种几近理想化和唯美化的程度。
                 ——高岭
     Since 1990s, a group of Chinese artists reacted to the great changes surrounded. Even all were reactions to the changes, ways changed with people. Some took reappearing and re-writing cynicism and satire directly against social reality; some carried out language deconstruction from media materials; some integrated media deconstruction and satire, basically with reality existence as its objective and subject. Comparatively, ZHANG Donghong’s response seems to be more individual and subjective, which has already reached to nearly ideal and aestheticism.
                                            Gao Ling
     艺术家具有控制画面效果的有效能力，将原本以色彩和透视见长、以刻画现实真实为能事的油画语言做了一次有效的中国式转换，饱含着东方人生意趣的生活理念就这样跃然于并非宣纸丝绢的画布上。
　　            ——高岭
　　The artist owns an effective ability to control image effect, changing the oil painting language good at color and perspective and reality description in a Chinese way. Then a kind of living concept full of oriental life meaning just appears vividly in the canvas not made of rice paper or silk.
　　                                           Gao Ling