伯恩哈特的作品被納入諸多著名公共機構收藏,其中包括:卡內基藝術博物館,匹茲堡;Fondazione Sandretto Re Rebaudengo藝術基金會,都靈 ;高等藝術博物館,亞特蘭大;赫希洪博物館和雕塑園,華盛頓特區;田納西州諾克斯維爾藝術博物館,田納西州;波特蘭藝術博物館,緬因州;魯貝爾博物館,邁阿密;聖安東尼奧藝術博物館,德克薩斯州等。伯恩哈特現於聖路易斯生活和工作。
i 傑瑞·薩爾茨,《為什麼沒有偉大的女性「壞男孩藝術家」?當然有過。但藝術界拒絕承認他們。》,《紐約》雜誌,2015年9月29日,載自網路
ii 羅伯塔·史密斯,《凱瑟琳·伯恩哈特:愚蠢、瘋狂、荒謬、有趣的模式》,《紐約時報》,2014年2月20日,載自網路
Katherine Bernhardt, whether in her paintings or make-shift Moroccan rugs, is rapt by neons and geometries. The artist, who works in New York, takes an almost hasty-flick of a brushstroke that lands as a jagged architectural form — figures cut in space and in buzzing colors that leave a mental trace.
Seemingly each month, multiple galleries, museums or art fairs across the world exhibit Bernhardt's large-scale fantasies and rug-centric installations, as seen in 2017 at Art Basel and with a solo retrospective at the Modern Art Museum of Fort Worth, Fort Worth. "I think the best painters don't intellectualize their own art—they just make stuff," she says; but with sharks circling trash in the water in today's climate, as is depicted in Sharks, Toilet Paper and Plantains, it's not hard to see Bernhardt's deeper meanings.