Three years later, reviewing another one-man exhibit, Arts Magazine wrote, "Markman's art reveals a working mind, a keen sense of humor, a talent capable of creative flexibility in both painting and sculpture. Creation is a game and he enjoys playing with ideas, words, and reactions; a thinking artist, he comes across with a child-wild imagination, unlimited in  fantasy, inventiveness, and vision. Markman creates his own language of art, a newspeak dictionary of words, a new species of people and a completely different environment which makes up his kind of world... On this fantastic voyage we see his unlimited imagination and creativity at work." The Dintenfass Gallery, with its mix of outsider and classically trained artists, as well as those with a strong illustrational bent, was a good fit for Markman; he exhibited at the gallery repeatedly over the next two decades. As his work evolved, Markman continued to explore the tension between "High Art" and popular art and the polarity between these two modes of visual expression. In concert with many of the emerging Pop artists of his era, Markman was intrigued by the impact of advertising and commercialism on cultural identity and expression. Like Andy Warhol, Roy Lichtenstein, and Claes Oldenburg, he challenged the traditional conventions of classical fine art and referenced popular culture and everyday products. Markman borrowed from cartoon constructs and integrated found objects (such as buttons, paper flowers, and plastic fruit) into his art. Whereas other Pop artists brought a coolness and detachment to their work, Markman deployed riotous color, humor, and pun-filled word play to engage and invite interaction from the viewer. He drew from social situations and popular cultural icons to construct his own universe in which viewers saw themselves and society reflected in a truthful but lighthearted way.
Three years later, reviewing another one-man exhibit, Arts Magazine wrote, "F.M. Markman's art reveals a working mind, a keen sense of humor, a talent capable of creative flexibility in both painting and sculpture. Creation is a game and Markman enjoys playing with ideas, words, and reactions; a thinking artist, Markman comes across with a child-wild imagination, unlimited in fantasy, inventiveness, and vision. Markman creates their own language of art, a newspeak dictionary of words, a new species of people and a completely different environment which makes up their kind of world... On this fantastic voyage we see their unlimited imagination and creativity at work." The Dintenfass Gallery, with its mix of outsider and classically trained artists, as well as those with a strong illustrational bent, was a good fit for Markman; they exhibited at the gallery repeatedly over the next two decades. As their work evolved, Markman continued to explore the tension between "High Art" and popular art and the polarity between these two modes of visual expression. In concert with many of the emerging Pop artists of their era, Markman was intrigued by the impact of advertising and commercialism on cultural identity and expression. Like Andy Warhol, Roy Lichtenstein, and Claes Oldenburg, they challenged the traditional conventions of classical fine art and referenced popular culture and everyday products. Markman borrowed from cartoon constructs and integrated found objects (such as buttons, paper flowers, and plastic fruit) into their art. Whereas other Pop artists brought a coolness and detachment to their work, Markman deployed riotous color, humor, and pun-filled word play to engage and invite interaction from the viewer. Markman drew from social situations and popular cultural icons to construct their own universe in which viewers saw themselves and society reflected in a truthful but lighthearted way.