![Mark Handforth](https://img.artlogic.net/w_966,h_724,c_lfill/exhibit-e/556d89b2cfaf3421548b4568/b8540093214d23b540d90b7de594a15c.jpeg)
![Art gallery installation of an exhibition, with 2 sculptures and a neon light piece](https://img.artlogic.net/w_1800,h_1800,c_limit/exhibit-e/556d89b2cfaf3421548b4568/31d96448b8b1af9f545ddab9a12739f5.jpeg)
Mark Handforth, installation view. Gavin Brown's enterprise, 2008.
MARK HANDFORTH
Gavin Brown’s Enterprise 620 Greenwich Street, West Village
Balancing Minimalist reticence with accessible symbolism, Mark Handforth’s sculptures quietly destabilize high-profile public settings. One of his contorted lampposts was installed in 2003 at the southeastern corner of Central Park, and his giant, upside-down road sign reading “No Exit” was prominently displayed at the 2004 Whitney Biennial.
Each of the large-scale, statement-making sculptures in his fourth show at Gavin Brown has the potential to stand on its own. “Tumbleweed,” a scattering of white, pink and violet fluorescent lights, liberates Dan Flavin’s neat columns of neon. “Rope Snakes,” a giant, convincingly textured cast-bronze in the form of a coiled rope, and “Sidewalk Heart,” a rusty pipe transformed into a romantic candelabra, play with scale in a manner reminiscent of Claes Oldenburg’s.
Read full article at nytimes.com