A Tribeca corner — Sixth Avenue at White Street, looking northwest from across the Roxy Hotel, whose cast-iron sidewalk clock appears at the far right edge of the painting. The subject is a mid-rise building mid-renovation, its full facade sheathed in cobalt scaffold netting; the orange brick and windows underneath show through the wrap as warm rectangles, so the building reads as two things at once — what's there and what's draped over it. To either side, neighbors the wrap doesn't touch: a pale green-tiled building at left, a red-and-yellow stretch at right. A yellow cab cuts across the foreground, figures are roughed in at the crosswalks in charcoal and paint marker. The sky is the other thing the painting is doing. Rather than smooth color, it's built from visible blue scribbling worked under and into the paint — a mark-making technique carried forward from other paintings in the series and pushed harder here. The surface holds the drawing alongside the image.