CV
| 1997 | MFA, Painting, Portland State Universite, Portland, OR |
| 1983 | BFA, Art, The Cooper Union, New York, NY |
| 1982 | BS, Art, Wester Oregon State College |
| 2020 | Phalanxes, Elizabeth Leach Gallery, Portland, OR |
| 2018 | Loss of Material Evidence (collaboration with Maria TD Inocencio), Hoffman Gallery, Lewis and Clark College, Portland, OR |
| 2015 | The Silk Road, Elizabeth Leach Gallery, Portland, OR |
| 2014 | Focus on Gods Eye, Nine Gallery, Porland, OR |
| 2012 | Portals and Vestibules, Laminates and Veneers, Elizabeth Leach Gallery, Portland, OR |
| 2010 | Recent Works, Office of the Governor, Presented by the Oregon Arts Commission, Salem, OR |
| 2018 | The Sojorn, Elizabeth Leach Gallery, Portland, OR |
| 2006 | Scrimmage, Scramble, Scrum, Nike World Headquarter, Beaverton, OR |
| 2005 | Assemblies, and Exhortations, Elizabeth Leach Gallery, Portland, OR |
| 2003 | Crowd Control, Northview Gallery, Portland Community College, Portland, OR |
| 2001 | Sisters Embracing, Gallery Hlemmur, Reykjavik, Iceland |
| Landmarks and Security Zones, Elizabeth Leach Gallery, Porland, OR | |
| 2000 | Discreet Collections, Elizabeth Leach Gallery, Portland, OR |
| Tent City, Mosh Pit, Trampled Clover, the Art Gym, Marylhurst University, Marylhurst, OR | |
| 1998 | News Clusters, Elizabeth Leach Gallery, Portland, OR |
| 1997 | In Love with Gravity, Elizabeth Leach Gallery, Portland, OR |
| 1996 | Little Dominions, Allene Lapides Gallery, Santa Fe, NM |
| 2019 | Marketplaces: From Open Air to Online, Sun Valley Arts Center, Ketchum, ID |
| 2016 | Unraveled: Textiles Reconsidered, Contemporary Arts Center, Cincinnati, OH |
| Crafting the Future, Elizabeth Leach Gallery, Portland, OR | |
| Transference, Autzen Gallery, Portland State University, Portland, OR | |
| Intercciones, Collaboration with Maria TC Inocencio on a magazing project by Yornel Martinez, Hoffman Gallery, Lewis and Clark College, Portland, OR | |
| Public Artists of the Norhwest, US Bank – Ascent, Seattle, WA | |
| 2014 | A Sense of Place, US Bank – Ascent, San Francisco, CA |
| 2012 | Industry and Art: Celebrating the Worker, Working Waterfront Coalition, Vigor Shipyard, Portland, OR |
| Progressive Practice: Fundamental Work, Northview Gallery, Porland Community College, Portland, OR | |
| 2011 | The Shape of the Problem, Elizabeth Leach Gallery, Portland, OR |
| 2009 | Green Oregon, Maneul Izquirdo Gallery, Pacific Northwest College of Art, Portland, OR |
| SQFT, Traveling Exhibition, beginning at Blackfish Gallery, Portland, OR | |
| Making Camp, Northview Gallery, Portland Community College, Portland, OR | |
| 2007 | Aqua Art Miami, Aqua Hotel/Elizabeth Leach Gallery, Miami, FL |
| 2006 | Recycle, Hallie Gord Museum, Willamette University, Salem OR |
| Aqua Art Miami, Aqua Hotel/Elizabeth Leach Gallery, Miami, FL | |
| Affair at Jupiter Hotel, Jupiter Hotel/Elizabeth Leach Gallery, Miami, FL | |
| 2005 | War Drawing, Visual Arts Gallery, Mt. Hood Community College, Gresham, OR |
| Fresh Trouble, Temporary Site – 4145 SE Belmont, Portland, OR | |
| 2004 | San Francisco International Art Fair, San Francisco, CA – Elizabeth Leach Gallery |
| 2003 | Recent Abstraction in the Northwest, the Art Gym at Marylhurst University, Marylhurst, OR |
| Artist and Maps: Cartography as a Means of Knowing, Hoffman Gallery of Contemporary Art, Lewis and Clark College, Portland, OR | |
| Stitch by Stitch, Elizabeth Leach Gallery, Portland, OR | |
| 2002 | News Clusters, Elizabeth Leach Gallery, Portland, OR |
| 2002 | Selections 25th Anniversary Exhibition, The Drawing Center, New York, NY |
| Echoing Nature, Hoffman Gallery, Oregon College of Art and Craft, Portland, OR | |
| 2001 | The Oregon Biennial, Portland Art Munseum, Portland, OR |
| Guns in the Hands of Artists, Interstate Firehouse Cultural Center, Portland, OR | |
| 1999 | Natural History, Teachers Insurance, New York, NY |
| 1998 | In the Footsteps of Their Muse, A.N. Bush Gallery, Salem Art Association, Salem, OR |
| 1997 | The Oregon Biennial, Portland Art Museum, Portland, OR |
| The Garden Show, Portland Institute of Contemporary Art, Portland, OR | |
| 1995 | Keeping an Eye on the Invisible, Elizabeth Leach Gallery, Portland, OR |
| The Oregon Biennial, Portland Art Museum, Portland, OR | |
| 1993 | Urban Stories, Marine Midland-Soho, New York, NY |
| Activated Walls, Artists Space, New York, NY | |
| 1992 | Emerging Artists, Cleary, Gottlieb, Steen and Hamilton, New York, NY |
| 1991 | In Memory of Nature, MMC Gallery, Marymount Manhattan College, New York, NY |
| 1989 | Outside the Clock: Beyond Good and Elvis, Scott Hanson Gallery, New York, NY |
| Five Artists, DA Gallery, Pamona, CA | |
| 1988 | Paintings, Fawbush Gallery, New York, NY |
| Relief Printing in the 1980's, Zimmerly Art Museum, Rutgers University, New Brunswick, NJ | |
| 1985 | Selections 1974-84, Art Advisory Service, The Museum of Modern Art, New York, NY |
| 1984 | Art Against Apartheid, 22 Wooster Gallery, New York, NY |
| Selections 27, The Drawing Center, New York, NY | |
| Artist's Call Against U.S. Intervention in Central America, Judson Church, New York, NY |
| 2020 | Percent for Art Purchase, I Used to Think I Knew Everyone, Portland Regional County Courthouse, Portland, OR (Collaboration with Maria TD Inocencio) |
| 2014 | Connecting Lines and You Know What You Signed Up For, Percent for Art Commission, Portland Police Department Training Facility, Portland, OR |
| 2012 | All Routes Lead to the Commons, Permanent public art commission for the Oregon Department of Transportation Headquarters, Salem |
| 2011 | Cool to Warm, Warm to Cool, Earning Air, and Music at the Frontier, permanent public art commission at the Health and Wellness Center, Western Oregon University, Monmouth |
| 2009 | Reading the Street, commission for TriMet, Portland OR: 5th Avenue Transit Mall |
| 2008 | Compass, (in collaboration with Maria TD Inocencio) South Waterfront Artist in Residence, AiR Studio and South Waterfront Park, Portland, OR |
| 2006 | The Park (Palm at the End of the Mind), commission for Providence Hospital Cancer Treatment Center, Portland, OR |
| 2005 | An Intimate City, Mediating Boxes and Honeycombed News, commission for Howard Hall, Social Sciences department, Lewis and Clark College, Portland, OR |
| 2000 | Technology Sequence, commission sited in the Port of Portland headquarters, Portland, OR |
| 1993 | El Mundo Ay Mofongo, A permanent exterior mural located at E. 2nd and Havemeyer Streets, Brooklyn, NY |
| 1992 | Displacement and Replacement in the Bronx, A permanent exterior mural at E.181st Street and Mapes Avenue, the Bronx, NY |
| 1985 | Significant Movements, a permanent exterior mural and sculptural installation in collaboration with Maria TD Inocencio at E. 118th and Pleasant Avenue, New York, NY. |
| 2019 | Facebook AIR Project, Facebook Seattle Headquarters, Seattle, WA |
| 2010 | Oregon Arts Commission Individual Artist Fellowship |
| 2008 | South Waterfront Artist in Residence, April 2008, Portland, OR |
| 2001 | Portland Art Museum, "Oregon Biennial," curators award, Portland, OR |
| 2000 | Project Grant, Regional Arts and Culture Council, Portland, OR |
| 1995 | Portland Art Museum, "Oregon Biennial," curators award, Portland, OR |
| 1992 | Hillwood Art Museum, Long Island University, "Project Residencies," Brookville, NY |
| 1985 | Manhattan Community Arts Fund, New York, NY |
| 2021 | Bean Gilsdorf, “Mark R. Smith: Phalanxes,” Textile: Journal of Cloth and Culture, (Online and print versions) |
| 2020 | Ford Family Foundation and University of Oregon School of Art and Design, Connective Conversations 2015-2019: Curator/Critic Tours and Lectures, full color catalog; color reproductions pp 208-9 |
| 2018 | Ronna and Eric Hoffman Gallery of Contemporary Art, L, Loss of Material Evidence, full color catalog, essay by Linda Tesner, 104 pages, Lewis and Clark College, Portland, OR |
| Jeff Jahn, "Loss of Material Evidence at Hoffman Gallery," PORT | |
| Laurel Reed, "Processing Loss at Lewis and Clark," Oregon Arts Watch | |
| 2016 | Briana Miller, “Elizabeth Leach Marks 35th Anniversary with Intense But Quiet Show," Oregonian/Oregon Live - July 25 |
| Karen S. Chambers, “Unraveled, Textiles Reconsidered,” Aequai.com, May 24 | |
| 2015 | Enid Spitz, “High Traffic: Camels and Crack Pipes Show Up at the Silk Road” Willamette Week, November 15, Color reproduction: Peninsular |
| 2012 | Jeff Jahn, “A Seat at the Table? Considering Soft Power: MK Guth and Mark Smith,” PORT , 12/6/12 |
| Richard Speer, Willamette Week, 11/14/12, p.44, (color reproduction: Open Cameo with Stand) | |
| 2009 | Katharine Harmon, with Essays by Gayle Clemens, The Map as Art: Contemporary Artists Explore Cartography, 2009 |
| Princeton Architectural Press, New York. p. 164 Color illustrations: Undermining Paths (Red) and Undermining Paths, (Green). | |
| 2008 | Sue Taylor, Exhibition publication, “Arrivals and Departures,” Elizabeth Leach Gallery, Portland, OR |
| 2006 | Sue Taylor, Art in America, “Mark R. Smith at Elizabeth Leach,” March, p. 162 (Color reproduction: Contest) |
| 2005 | Prudence Roberts, Artweek, "Christine Bourdette and Mark Smith at Elizabeth Leach Gallery," November, pp 23-24 (reproduction: Contest) |
| Harvest Henderson, The Oregonian A&E, "Thinking Outside the Sports Dome," Sept. 16, p.22 (Reproduction: Contest) | |
| Harvest Henderson, The Oregonian A&E, "Here Comes Trouble," Sept. 30 pp 22-24 | |
| 2004 | Linda Brady Tesner, Honeycombed News, An Intimate City, Mediating Boxes, catalog and essay for a permanent art commission for Lewis and Clark College, Portland, OR |
| 2003 | American Style Magazine, “Arts Tour,” August, p.38, (color reproduction: Mosh Pit) |
| Linda Brady Tesner, Artists and Maps: Cartography as a Means of Knowing, catalog essay, Hoffman Gallery of Art, Lewis and Clark | |
| 2001 | Halldor Bjorn Runolfsson, Morgunblaid, “Craft as Art,” November 1, 2001, Reykjavik, Iceland, p.34 |
| Pat Boas, Artweek, “Tony Evanko and Mark R. Smith at Elizabeth Leach Gallery,” September, pp. 25-26 | |
| Bob Hicks, The Sunday Oregonian: Artsweek, Section F, "The Oregon Biennial: Not the Usual Suspects," April 29, pp. 1, 2 (color reproduction) | |
| Bruce Guenther, 2001 Oregon Biennial, catalog essay, Portland Art Museum, Portland, OR, pp. 15, 56-57 (color reproductions) | |
| Lisa Lambert, Willamette Week: Visual Arts, "Best in Show," (Portland), p.62, (color reproduction) | |
| 2000 | Terri Hopkins, Tent City, Mosh Pit, Trampled Clover, exhibition catalog and forward, The Art Gym, Marylhurst University, Marylhurst, OR |
| D.K. Row, The Oregonian: Arts and Entertainment, "Time After Time," March 24, pp. 61, 65 | |
| D.K. Row, The Oregonian: Living, "Critic's Picks," March 2, p. E1, (color reproduction) | |
| 1997 | Randy Gragg, The Oregonian: Arts and Entertainment, "Out on a Limb," Aug. 22, p. 62 |
| Kathryn Kanjo, 1997 Oregon Biennial, catalog essay, Portland Art Museum, Portland, Oregon, pp. 31, 46 | |
| 1996 | D.K. Row, Willamette Week, "Art on the Move," (Portland) October 23, 1996, p.24 |
| 1995 | Laura Lee Bennett, Reflex, "Portland Art Museum: Bread and Circuses?" Seattle, Oct./Nov., p. 19 |
| Randy Gragg, The Oregonian: Arts and Entertainment, "Art Newly Awakened to a City," Dec. 8, p. 18 | |
| 1989 | Kim Levin, The Village Voice: Choices, "Outside the Clock: Beyond Good and Elvis," July 25, p. 48 |
| Robert Longo, Outside the Clock: Beyond Good and Elvis, "Information is Physical," Curator's statement, Scott Hanson Gallery, New York | |
| 1988 | Grace Glueck, The New York Times, "An Immoveable Feast: Murals in the City," July 22, p. C1 |
| 1986 | Kirk Krautler, New York Newsday, "Operation Greenthumb Touches Growing Concerns," June 24, p. 26 |
| 1983 | Jacqueline Brody, Print Collectors Newsletter, "Divers and Floaters," September, p. 145 |