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The counterpoint between the 2 voices in the Secondary Tonal Area of the Exposition (first movement) is still really sloppy. I think a lot of it has to do with what the left hand is doing. It really needs to get out of the way of the right hand, and if you're WANT polyphony in that section, don't make it homorhythmic. For the record, have studied counterpoint all? Specifically 18th century or above? Also that drastic change in texture/depth isn't helping you either in that section, it just isn't as effective as the rest of the movement is definitely the weakest section. You'd be amazed by how much better your music can get when you simplify things, I would suggest downgrading that left hand part so this section can "sing" more. I really like the secondary thematic gestures in the Expo/Recap, by the way.
By the way, you can't really call this a sonata if it's Fast-Fast-Fast. Maybe you could write an additional movement that's slow, perhaps?
Also, notational issues. When you're writing dynamics for the piano, you don't put them for both hands UNLESS it's a very specific kind of gesture where you absolutely have to do this. But if both hands are forte, don't put an F under each stave, it's pretty garish. Also, there are instances where you're having the left hand sustaining a chord and you write a crecendo. Well considering that pianos can't do that, you might want to either make it more rhythmically active so it CAN crescendo, or just take it out, since a piano player is going to look at that be very confused.
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