Micah Lexier’s recent exhibition, “→ (the title is an arrow),” started from the most minimal means—an arrow—and explored the semiotics of marks, symbols, and words. The majority of Lexier’s directional signs are derived from a single scrawl, which was digitally enlarged—hence emphasizing its handmade irregularities—and serially fabricated from stamped and painted water-jet-cut aluminum. The impressive 12-Foot White Arrow (all works 2009), installed on the gallery’s facade, pointed at the entryway with an exaggerated denotative emphasis that would ensure distant recognition, perhaps by satellites,