The painting looks across the tracks at the Lexington and 63rd Street Q platform, the view compressed into four horizontal bands stacked top to bottom. The ceiling is nearly black, broken only by the rust-red verticals of the steel supports. Below that, a band of green tile shifts square by square from blue-green to a sharp chartreuse that has no business being there and is the best thing in the painting. The platform wall takes up the middle — a pink-and-blue grid softened almost to pastel, with the station name visible at right and a broken tile reading as a dark smudge near the center. A grey wash runs down from the green band, through the tile, and across the red-and-white chevron at the platform edge; it is the wall's actual wear, not a painterly flourish. The bottom band, the tracks themselves, sits in green-blue vertical strokes. The cityscape series usually finds its subject walking at street level; this one stops and looks across.