JANE HOLTZ KAY, ART NEWS, 1975, MONTH? P. 70

Christopher Sproat fills space well: his neon sculptures related to the rooms of Harcus Krakow Rosen Sonnabend Gallery without dissolving into “d飯r.”  Neon tubes joined to pipes, coils and blunt industrial boxes or coursing parade near a baseboard, dangle like phone coil, apply themselves to the wall in the rhythmic progression of an Art Deco mural or railing, enframe and transform a corner of the room beneath the stairs.  Ambiguity is heightened by the radiant neon as well as by the mystery that surrounds its forms and functions ? which silver box or pipe really powers of the light?  Does the coil adorn or motor the work?  Even the charcoal drawing attached to one work seems a light source as well as backdrop.