"In 2002 we see a break in style of Richard Fahey's regularly scheduled program. The falling of the twin towers shook the world and deeply disturbed so many. In his paintings 'Target,' 'Target One,' and 'Target Two' the unshakable horrors of September 11th, 2001 resonate within the viewer. However, Fahey does not miss a beat and responds to this dark muse with a bit of transcendent realization. We see the image of a Northern European Copper Beach tree, which in Celtic culture serves as a symbol for the transference of soul from earth as we know it into the heavens above. The bands in the target, textured with sand from various countries of The Middle East make the subject matter quite literal and immediate and once again prove Fahey's deliberation of material quite successful. 

The second most obvious occurrence we see in this decade is the huge swing back to the work that Fahey has always been charged with. It is apparent that the subject matter and style has swung out of the depths where Fahey had to go and come back from. The return to big colors, the study of objects and their relations to one another, his physical interaction with the paint, and composition of movement bring about the return of the painter back from his confrontation with some of the darkest parts of the human condition."