b'mark sheinkmans paintingshave long been characterized by sinuous linear marks, created by a subtractive technique of erasure through a layer of graphite and oil over a white ground. For quite some time, the gestures were relaxed, smoky and curvy, but the works in his first exhibition at Lennon, Weinberg in 2017 were dense with gestural activity, more layered, twisty, sometimes spiky, with more incidents of painterly, additive paint application.His signature tonal gradation has now been upended by a return to color, an element he hasnt used in a long time. But it is interesting in hindsight to look at certain paintings that had been in our 2017 show, and recognize that a significant evolution had already appeared on the horizon. Structures organized around tight bundles of lines, in works such as Hooper, have now been separated by color, testing the cohesiveness of the compositions. Its good to push against the boundaries of our comfort zones and, to his credit, Sheinkman has been doing exactly that.The colors he has chosen for the new paintings are both nuanced and specific. A few of them, Forbell and Montauk for example, are largely monochromatic and therefore not so distant from the non-colored paintings that preceded them. Two other paintings, Hull and Cozine, are two-color blue and Joralemon, 2014, 15 x 18 inches, oil, alkyd and graphite on linen.'