Arts Magazine, 11/90, Review
Art at The Anchorage
By Robert Mahoney

Marc Blane's Resting Place summarized both the potentials and pitfalls of the outside perspective. The work consisted of a curtain of crutches and little green flasks with pictures of sleeping bums on them hanging from the vault to the floor. An audio element, change shaking in a cup, is sinister and angry. Crutch and bottle speak of old-time rum bums of the Bowery lording their sarcasm over subway-platform commuters. The upturned bottles do a sentimental rain dance for that last drop that once was thought to be the one and only salve of homeless life. The photos are upside down as well, complicit in the inversion. Blane's theatrical response to the livableness of the site for those with even less, comes up against the weight of the vault, and cannot sustain a clear unspooked point of view on homelessness.

The News York Times, 7/27/90, Review
Art at the Anchorage
By Roberta Smith

Resting Place by Marc Blane, Installation in the Brooklyn Bridge Anchorage Show, 1990.

Marc Blane balances form and medium most successfully, although this is a relative judgment. Mr. Blane's Resting Place is a striking curtainlike structure made of more than 250 wooden crutches that stretches wall to wall and nearly floor to ceiling in the first big vault at the Anchorage. From each crutch hangs an empty pint-sized wine bottle labeled with the photograph of a man passed out on a sidewalk. The simplicity of Mr. Blane's piece works both for and against him, but more than anything else here, his installation delivers his message experientially, and without undue editorializing.