A salmon-orange tower on Fifth Avenue catches late sun, painted from a photograph taken on a walk near the reservoir. This is the second cityscape and the first time the constraint that produced No. 1 gets pointed at a real New York building — the central tower steps up like a cypress against the sky, but the geometry now answers to architecture. The orange of the building is hatched marker laid over an oil ground, with the strokes left visible so the warm field has internal variation. The sky is built the same way, in cobalt scribble — short, repeated marks rather than a flat wash. Green oil at the bottom dissolves into loose script, white and black marks that nearly read as writing. The painting commits to representation in the building and lets it go in the foreground.