As Seen in the NY Times

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The works in Harlem and Lower Manhattan are much more than a challenge to President Trump; they are opportunities for Black artists and community togetherness.

By Julia Jacobs

The street painting at Foley Square resembles many that have been done around the country in its word choice and placement, but part of what has been lost in the national debate over the art and the political statements they make is the logistical care, intentional placement and artistry that went into the creation of many of them. …

Justin Garrett Moore, the executive director of the city’s Public Design Commission, said that there is a clear difference between the street paintings borne from mayoral decision making, which serve as an acknowledgment that public officials have heard the calls of racial justice protesters, and the community-driven murals, where there’s a deeper connection to the space and the message. …

They first blocked out the artwork in 3-D software, carefully avoiding any street features that the Department of Transportation said they couldn’t paint over, said Jhordan Channer, the architectural designer for the project. When it came time to install the 600-foot-long painting, they first painted a white canvas and a drop shadow to make sure the letters stood out. Tats Cru, a group of professional muralists in the city, executed the artists’ designs with heavy-duty traffic paint, exterior-grade enamel paint and spray paint. They were assisted by youth from Thrive Collective, an arts mentoring program that works with New York public schools. …

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