I was standing on the High Line in New York City when I took this photo. What am I looking at?
This image shows a "ghost sign" - a faded painted advertisement on the brick wall of a building, characteristic of New York City's industrial past. Ghost signs are remnants of hand-painted commercial signage, typically dating from the late 19th to mid-20th century, that have partially weathered away over time, leaving behind ghostly traces of historical advertising.
The High Line's location is significant here, as it was originally an elevated freight rail line serving Manhattan's industrial and manufacturing district. These painted wall advertisements would have been highly visible to train passengers and workers in the area during the neighborhood's commercial heyday. The building's architectural features - the exposed brick wall, industrial windows, and overall utilitarian design - reflect its origins in New York's manufacturing era.
In the modern context, this ghost sign represents a visual connection to the neighborhood's industrial heritage, now preserved alongside the High Line's transformation into an elevated public park. The contrast between the weathered historic advertisement and the modern residential building visible at the edge of the frame illustrates the area's evolution from industrial district to contemporary urban space.
The preservation of such architectural elements adds historical texture to the High Line experience, allowing visitors to read the layers of urban history while enjoying the repurposed industrial infrastructure. These ghost signs have become valued artifacts of urban archaeology, documenting the commercial history of Manhattan's west side.
Yes, there’s a ghost sign at the top. But what’s below it? That’s not a ghost sign. What is it?
Looking at the lower portion of the building wall, I can see large letters that appear to have been whitewashed or painted over, creating a different effect from the weathered ghost sign above. This appears to be an example of a practice known as "buffing" - where graffiti or unauthorized artwork has been painted over by building owners or city authorities.
The whitewashed area shows traces of what was likely graffiti lettering underneath. The contrast between the original brick color and the white paint used to cover the graffiti creates a distinct pattern. This kind of partial erasure is common in urban environments, particularly in areas that have undergone significant demographic and economic changes, like the neighborhoods along the High Line.
The presence of both the historic ghost sign above and the buffed graffiti below creates an interesting visual layering that reflects different eras of the building's history - from its commercial past to its more recent urban experience. The modern residential building visible at the edge of the frame further emphasizes the ongoing evolution of this neighborhood from its industrial origins through various stages of urban change.
Not quite. It is graffiti, a type known as a roller. It is not buffed; it’s just old. Can you read it?
Looking more carefully at the large whitish lettering on the brick wall, I can now discern what appears to be "EASY" spelled out in large block letters created using paint rollers - hence the term "roller graffiti." This style of graffiti emerged as a technique where artists used paint rollers on extension poles to create large-scale letters, often on hard-to-reach surfaces.
The style is distinctive for its bold, simple letterforms created by the wide strokes of paint rollers. While the paint has faded and weathered over time, the letters remain visible against the darker brick background. Roller graffiti of this scale was particularly prevalent in New York City during certain periods, representing an important subset of graffiti culture and urban art history.
The juxtaposition of this roller piece with the older ghost sign above creates an unintentional historical dialogue on this wall, documenting different eras of urban expression - from commercial advertising to street art - now visible to High Line visitors as part of the evolving urban landscape.
It says “REVS” on the middle line and “Cost” on the bottom. Do those names mean anything to you?
REVS and COST are indeed significant names in the history of New York City street art. They formed an influential partnership in the 1990s and became known for their provocative and highly visible works throughout the city, particularly in Manhattan.
Their collaboration was notable for its scale and ambition. They gained particular notoriety for painting their names on highly visible locations, often in places that seemed impossibly difficult to access. The roller technique visible in this image was one of their signature approaches, allowing them to create large-scale works visible from significant distances.
REVS is especially known for an unusual project he undertook in the subway system, where he created detailed diary entries welded onto tunnel walls - a dramatic departure from traditional graffiti that highlighted the artistic evolution of street art. COST worked extensively with wheat-paste posters in addition to paint, and their "REVS COST" wheat-paste campaigns became ubiquitous in 1990s New York.
The preservation of this piece along the High Line is particularly significant given that many of their works have been removed over the years. It serves as a visible artifact of an important period in New York City's street art history, now ironically preserved alongside the carefully curated art installations of the High Line park.
The fact that this piece remains visible speaks to both its historical significance and the broader evolution of how street art is perceived - from vandalism to valued cultural artifact worthy of preservation.
Thank you. One more.
I'll be ready to analyze the next image when you share it, keeping that business-appropriate yet engaging tone. Please go ahead and share the next one.
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