Art Review Across sculptures and works on paper, her subjects are self-sustaining survivors who have not lost their capacity for tenderness. Mary Frank, "Prone Woman Plaque" (c. 1980), ceramic (all photos John Goodrich, courtesy Steven Harvey Fine Art Projects) Mary Frank charted a far different path from her male counterparts in the second half of the 20th century, who rejected the handmade in favor of fabrication. Frank, who is in her early 90s, and has been making work rooted in mythology and her study of dance with Martha Graham for decades, has long deserved to have her multi-genre work celebrated by a New York museum. The fact that this has not happened is not simply a matter of neglect or oversight — it is one of the many instances where, over time, prejudice against her aesthetic independence has become regarded as truth. Until that viewpoint changes, exhibitions such as Mary Frank at Steven Harvey Fine Art Projects will have to do.…