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New York’s BQE Is Falling Apart. The City Can’t Agree on How to Fix It.

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New York’s BQE Is Falling Apart. The City Can’t Agree on How to Fix It.

The triple cantilever runs along the edge of Brooklyn Heights, a wealthy and politically connected neighborhood. It stands as a symbol of resistance to Robert Moses, the power broker who rammed highways through communities.

When Mr. Moses tried that approach here in the 1940s, Brooklyn Heights residents pushed back, and Mr. Moses rerouted the Brooklyn-Queens Expressway around them.

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At the top sits the Brooklyn Heights Promenade, a cherished landmark with skyline views where generations of New Yorkers have come for their first date.

Below, two levels of traffic jut out like drawers pulled from a dresser. The highway is the main artery between Brooklyn and Queens, and it is part of Interstate 278, the only road that connects New York’s five boroughs.

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The cantilever, which opened in 1954, was designed to be used for 50 years. The risks only go up as it continues to deteriorate year after year, even as its life span has been extended with interim measures. While city officials and transportation engineers say imminent collapse is not a threat, other catastrophes could still strike, like concrete falling off and hitting vehicles.

Since 2018, two New York City mayors — Bill de Blasio and Eric Adams — have announced that they would fix this vital artery. But both administrations were unprepared for the ferocious community opposition to their ideas on how to proceed. Both struggled to build any consensus at all as local residents countered with their own ideas. The endless back and forth led to more delays and inertia.

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Traffic on the triple cantilever passes through Brooklyn Heights.

Erin Schaff/The New York Times

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The standoff over the B.Q.E. has become, more broadly, a symbol of the power that local communities wield over critical infrastructure projects around the nation.

Though community opposition is hardly new, it is thriving today as residents have become more nimble and sophisticated at influencing projects, or halting them entirely. They strategize about just who to target with their ads and protests, assemble technical experts and consultants to argue on their behalf, and extend their reach with email blasts, online petitions and social media.

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In Los Angeles, a plan to widen the 710 Freeway, one of the nation’s busiest freight corridors, was canceled in 2022 amid community opposition. A major street improvement project in Detroit was paused last summer, in part over the public’s concerns about its design, while state officials took another approach. And a Buffalo project championed by New York Gov. Kathy Hochul to reconnect communities divided by a highway stalled recently after a state court ruled in favor of critics.

This community pushback is often characterized as NIMBYism — the “not in my backyard” impediment to change — but the reality is more nuanced. Many Brooklyn residents say they are not against improving the B.Q.E., and, in fact, are fighting for a better future with less traffic and more space for people.

But now, time is running out for the triple cantilever.

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A highway in decay

The cantilever structure anchors a 1.5-mile stretch from Atlantic Avenue to Sands Street that is owned by the city. The rest of the 16-mile highway belongs to the state.

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Source: OpenStreetMaps.

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The New York Times

Even before the latest effort, state transportation officials had sought to rehabilitate the cantilever section in 2006. They dropped the project in 2011, citing fiscal concerns and other priorities. That left the problem to the city.

The triple cantilever was increasingly flagged for potential safety hazards, said Bojidar Yanev, a former city transportation official who oversaw inspections from 1989 to 2018. “The structure was unraveling,” he said.

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Since at least 1996, the city has fastened metal mesh sheets to the underside of the roadway, particularly below joints, as a stop-gap measure to hold crumbling concrete in place and prevent accidents.

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Photo by Helmuth Rosales/The New York Times

The growing areas protected by the mesh sheets became the most visible sign of the triple cantilever’s decay. It was not easy to inspect the internal structure, which was enclosed in concrete like a catacomb, Dr. Yanev said.

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Inspectors cut openings into the walls of the cantilever in 2016, finding that water and road salt had penetrated the structure at the joints. This caused the steel rebars in the concrete to corrode and expand, forcing chunks of concrete to fall off. Without major structural intervention, this degradation progressively weakens the triple cantilever’s strength.

In September, Times reporters captured video of the undersides of the triple cantilever to understand the structure’s current state.

Analysis of the footage revealed hundreds of steel mesh sheets placed along the structure’s undersides, including at the cantilever’s deteriorated joints, to hold the concrete in place.

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Note: Locations of steel mesh sheets are based on videos captured in September by The Times of the triple cantilever’s undersides.

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The New York Times

City officials say the triple cantilever is safe until at least 2029, with current protective measures. They closely monitor the structure and have taken steps to stabilize it, including making repairs and installing sensors to ticket overweight trucks. After that time, the city may have to further restrict traffic to reduce weight on the cantilever.

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First wave of ideas

Mayor de Blasio’s administration presented two options in 2018 to rebuild the cantilever, touching off the fiercest battle over the B.Q.E. since it was built.

Polly Trottenberg, then the city transportation commissioner, told residents in Brooklyn at the time that “none of the options are going to be very lovable, and that’s the challenge we face.”

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One option would rebuild the highway lane by lane and reroute traffic around the construction. The more controversial proposal, favored by the city, would erect a temporary six-lane highway over the promenade while the lower decks were rebuilt.

Both options would mean losing access to the promenade for years, but the temporary highway would also bring traffic, noise and pollution right to the doors of Brooklyn Heights.

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Furious residents rallied to save the promenade. They raised tens of thousands of dollars to fund their campaign, hired public relations and lobbying consultants, and started a petition that garnered more than 70,000 signatures.

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Of course, the promenade itself was born from an earlier fight with Mr. Moses. In 1942, the Brooklyn Eagle newspaper learned that a new highway could cut through the neighborhood and warned: “Plan for Express Highway Through Heights Is Shocking.”

Residents demanded that it be pushed toward the industrial waterfront and suggested building a “double-decker highway” to take up a smaller footprint, and a roof to cover the noise and fumes — which became the promenade.

Mr. Moses later wrote that “the two shelves of the cantilevers carrying commercial traffic and the overhanging cantilever roof for the promenade and park were designed for the greatest benefit to the Heights.”

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A view of the promenade then and now.

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The New York Times archives (left); Bedel Saget/The New York Times

This time, many Brooklyn residents, as well as architects and urban planners, looked to places like San Francisco, Seattle and Rochester, N.Y., that have torn down or repurposed highways to reconnect neighbors and create more housing, parks and transit.

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Two alternatives to the city’s ideas illustrate how Brooklyn residents see this as an opportunity to make radical changes that would benefit their neighborhoods and the city.

Mark R. Baker, a lawyer, businessman and parks activist, proposed in 2019 to move all the traffic to street level and enclose it in a ventilated tunnel. The cantilever would become a three-level park, called the “Tri-Line,” similar to Manhattan’s High Line.

“We had to protect the promenade, which is one of the most spectacular open spaces in New York City or the world, really,” Mr. Baker said.

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Roy Sloane, a graphic artist and advertising executive, advocated for his earlier idea from 2010 for a tunnel, which would help divert traffic away from the cantilever section.

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The “Cross Downtown Brooklyn Tunnel” — which would become the new alignment for Interstate 278 — would alleviate the traffic and pollution that spills off the B.Q.E. onto streets in the area. The triple cantilever could then be rehabilitated for cars and light trucks going between neighborhoods, and, with less traffic, nearby sections of the highway could also be turned into boulevards.

“Through traffic is the issue for the residential neighborhoods that are parallel to the B.Q.E.,” Mr. Sloane said.

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Other notable concepts included one by Bjarke Ingels Group to transform the triple cantilever into “BQ-Park,” a grander version of Mr. Baker’s Tri-Line. The City Council, working with Arup, an engineering firm, floated an idea to demolish the triple cantilever and replace it with a three-mile bypass tunnel.

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After hearing from residents, Scott Stringer, then the city comptroller in 2019, jumped in with a proposal to limit the cantilever to trucks, while adding bus and bike lanes and a park.

City officials promised to consider all these ideas. Mr. de Blasio, a former Brooklyn councilman with deep ties to the borough, convened a panel of experts to study the B.Q.E.

The panel reported in January 2020 that the cantilever was in worse shape than believed and called for safety measures, including removing two of the six traffic lanes to reduce vehicle weight.

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The steel and concrete triple cantilever has deteriorated over the years, and various ideas to renovate or overhaul it have failed to gain traction.

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Haiyun Jiang/The New York Times

Carlo A. Scissura, who led the panel, said the city was not ready to choose among the various concepts without more comprehensive engineering studies. “It would have just been like, ‘Oh, this looks beautiful, let’s just do it,’ ” he said.

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When the coronavirus gripped New York in March 2020, resources shifted to the health crisis, and the momentum to fix the B.Q.E. was lost.

Shortly before leaving office, Mr. de Blasio said the city would postpone a permanent solution and instead spend more than $500 million to shore up the B.Q.E. for 20 years.

Second wave of ideas

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After Mr. Adams became mayor in 2022, he decided the B.Q.E. could no longer wait. He hoped to tap into federal infrastructure funds unlocked by the Biden administration and start construction within five years.

Mr. Adams had opposed the city’s temporary highway idea in 2019 as Brooklyn borough president. And his new administration presented three new concepts — “The Stoop,” “The Terraces” and “The Lookout” — that shifted the focus to open space.

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The Stoop grew out of community interest in BQ-Park, the idea proposed by Bjarke Ingels Group in 2019. City officials hired the firm to help pressure test BQ-Park, only to find that it could not be built because of infrastructure constraints. The Stoop was developed as an alternative concept, but was later shelved amid criticism from residents about the design.

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Vishaan Chakrabarti, an architect and urbanist, said that many of the visions for the B.Q.E. did not fully consider engineering and cost constraints. “Communities get enamoured with ideas that aren’t viable, and then they start thinking worse of the ideas that are viable,” he said.

City officials said the B.Q.E. was an important economic artery, and that without it, trucks would jam nearby streets. They tried to strike a balance between a safe, modern highway and quality-of-life concerns, they said.

Since 2022, they have held 30 public meetings about the B.Q.E. In response to feedback, they committed to a plan that would not impact the promenade or Brooklyn Bridge Park, or require taking private property. They helped secure a $5.6 million federal grant to improve neighborhoods along the state-owned sections.

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Still, many Brooklyn residents complained about a lack of transparency. They said many of their questions were not fully answered and their suggestions went nowhere.

As public discussion evolved over the years, three broad groups of stakeholders emerged: neighbors, dreamers and pragmatists.

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The neighbors saw an opportunity to improve public transit and to reduce the impact of traffic on their health, safety and climate. The dreamers went further and envisioned tearing down the highway for more housing, businesses and parks, and shifting to more sustainable ways to move people and freight. The pragmatists focused on maintaining a vital traffic corridor that would still be needed in the future and fixing a cantilever that had become a safety hazard as soon as possible.

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Three broad groups of stakeholders of the B.Q.E. project are neighbors, dreamers and pragmatists — each with its own vision for the future of the expressway.

Bedel Saget / The New York Times

A leading voice of the neighbors was Lara Birnback, the executive director of the Brooklyn Heights Association, who said the city should develop “a more holistic, forward-thinking solution.” The association, which is part of the Brooklyn-Queens Expressway-Environmental Justice Coalition, has called for a corridorwide plan.

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“Our perspective at this point is, let’s not spend billions and billions of dollars cementing the status quo, no pun intended, by shoring up the cantilever for 100 years,” Ms. Birnback said.

In the dreamer camp was the Institute for Public Architecture, which highlighted the harmful legacy of the B.Q.E. through community meetings, an oral history project and a documentary by Adam Paul Susaneck, an urban planner. The dreamers asked: What would a future without the B.Q.E. look like?

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Antonio Reynoso, the Brooklyn borough president, said he saw a future with more freight moving on the waterways and less reliance on polluting highways like the B.Q.E. He told city transportation officials that he would like them to explore the option of tearing down the cantilever. But he said that option was never presented in community meetings.

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Aerial photo by Vincent Alban / The New York Times

Pragmatists like Samuel I. Schwartz, a former chief engineer for the city Transportation Department who established a transportation research program at Hunter College, urged city officials to immediately fix the cantilever and leave amenities like parks to be added later. He pointed to the Williamsburg Bridge as a cautionary lesson. In April 1988, it was shut down for more than a month after decades of neglect, causing widespread chaos.

“There should be urgency,” he said, “because something is going to happen if nothing is done.”

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Third wave of ideas

Many New York projects have run into opposition, like the $10 billion plan to replace the Port Authority Bus Terminal that was substantially revised last year with community input. “Community opposition is a way of life,” Mr. Schwartz said. “It doesn’t mean we stop.”

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But the B.Q.E. has often seemed adrift, without a strong champion at the helm to build consensus. Communities have a right to speak out, and “the job of government is to hear the voices and then whittle it down into something that works,” Mr. Stringer said.

Brooklyn Councilman Lincoln Restler said the Adams administration has seemed more interested in checking a box than really collaborating with the community. Any plan for the B.Q.E., he added, faces multiple layers of government review and approvals and will require community support to move forward. “We’ve got a long way to go,” he said.

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Cars in a traffic jam near the north end of the triple cantilever during rush hour in September.

Haiyun Jiang/The New York Times

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In 2024, the Adams administration presented another concept for the B.Q.E. — the city’s third attempt — this time emphasizing an engineering solution: a two-level, stacked highway that would be supported on both sides.

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Marc Wouters, an architect and urban planner, countered with yet another idea. In 2019, he had partnered with the Brooklyn Heights Association on a plan to protect the promenade. Since then, he has spent thousands of hours working on his own to take field measurements, build 3-D models and test engineering scenarios.

The result is the “Streamline” plan, which would be quicker to build, cost less than other options, and have minimal impact on the promenade and surrounding area, Mr. Wouters said. It would move all traffic to an expanded bottom deck and repurpose the upper deck for bike lanes and a park.

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“I’m hoping that it advances because it does seem to check a lot of boxes off for the community,” he said.

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Last month, Mayor Adams urged Transportation Secretary Sean Duffy to start the environmental review process for the B.Q.E., which would consider a range of plans and allow construction to begin in 2029. “After a fix for the B.Q.E. languished for decades, the Adams administration advanced this project further than ever before to build a safe, resilient highway,” said Anna Correa, a spokeswoman for Mr. Adams, this week.

But a new mayor, Zohran Mamdani, will take over in January and may have his own ideas. Mr. Mamdani knows that protecting the safety and stability of the B.Q.E. is “an urgent priority for the city,” said his spokeswoman, Dora Pekec. “After years of patchwork fixes that have only offered temporary fixes, the Mamdani administration will work to deliver a permanent solution for the city-owned sections of the B.Q.E. that both meets community needs and preserves this essential transportation corridor,” she said.

That will not be a quick or easy process. Big hurdles remain, including how to pay for the project. It was passed over for federal funding in 2024 and could cost up to $5 billion, depending on the plan chosen.

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“I think the B.Q.E. has just bedeviled and frustrated everybody who’s ever driven on it, looked at it, and worked on it — it’s like a curse,” Ms. Birnback said.

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An aerial view of the triple cantilever.

Bedel Saget/The New York Times

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Note: The ideas illustrated in the story are schematic interpretations by The New York Times, based on the original proposals.

Video at the top of this article by Todd Heisler. Additional work by Nico Chilla.

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How ‘The Wire’ Star Jamie Hector Spends a Hot Day in Brooklyn

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How ‘The Wire’ Star Jamie Hector Spends a Hot Day in Brooklyn

Nearly two decades have passed since “The Wire” ended, yet Jamie Hector’s haunting turn as the drug kingpin Marlo Stanfield still resonates. Jay-Z recently referred to the character during a freestyle at the Roots Picnic.

“I respect the fact that artists find time to appreciate another artist in that way,” Mr. Hector said. “I consider the work that we do at the highest level with great art. His is literary. His is over a track, making you feel, and mine was visual.”

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Mr. Hector, 50, also a director, producer and children’s book author, has devoted much of his life to the arts as one of television’s most compelling, understated figures, currently seen in Apple TV’s “Cape Fear.”

He splits his time between his family, dramatic roles, his own projects and shepherding the next generation of artists. Mr. Hector spent a recent blistering Thursday in Brooklyn with The New York Times.

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How a Museum Security Guard and Artist Lives on $51,000 in Parkchester

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How a Museum Security Guard and Artist Lives on ,000 in Parkchester

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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Ryan Compton knows a thing or two about gigs. To make it in New York, he has worked as a retail associate inside the Museum of Modern Art’s gift store, a cashier for a downtown taqueria and a paint mixer for Takashi Murakami. He has experienced the paradox of a city both known for its artists and for pricing artists out.

Financial constraints forced Mr. Compton, who is from South Jersey, to move away from New York twice over the course of two decades. He has lived in Baltimore, Chicago and Philadelphia, but remains convinced the resources and people inside New York are unparalleled.

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“You never know who you’re going to run into,” he said. “Everyone’s curious about each other.”

Since moving back in 2022, he has whittled down his source of income to a single gig as a security guard at the Metropolitan Museum of Art, where he made $51,000 before taxes last year. It’s his second time at the museum. He first worked there part-time in 2011 before leaving in 2015 to earn his master’s degree in sculpture from the School of the Art Institute of Chicago.

“I know I couldn’t afford graduate school and the cost of living in New York at the same time,” he said.

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A third try at New York life has forced Mr. Compton, now 46, to confront the sustainability behind a career as both an interdisciplinary artist and a security guard — even inside one of the most famous museums in the world.

Love at First Sight (With New York)

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As an undergraduate student at the Maryland Institute College of Art, Mr. Compton looked forward to spending weekends at his friend’s apartment gallery in the East Village in Manhattan.

A combination of showing face and knowing the right person led to his side project at the time — fashioning 3-d printed stuffed animals with skull faces — which were featured in an issue of Vogue Japan. He even sold a few inside a handmade craft store in Tokyo’s Ginza district for about $1,000.

“I was interested in the contrast between fuzzy-shaped animals and skulls,” he said, later adding, “You know, stuff when you’re a 20-something-year-old being kind of edgy.”

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The early moment of success propelled Mr. Compton to chase after opportunities to showcase his work. While supporting himself financially through retail and service jobs, he helped write the artist Roman Ondak’s interactive performance piece at MoMA, “Measuring the Universe;” and worked as a collaborator for “No Souls for Sale,” an experimental project temporarily at Dia Chelsea and later, the Tate Modern in London. Both went unpaid.

“The chance to work in modern art before I was 30 is unheard of,” Mr. Compton said. “It only happens in New York.”

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A Slower Pace

Tens of thousands of people flock to the Metropolitan on weekends, and it’s Mr. Compton’s job — one he has found increasingly difficult — to make sure the art is untouched. He believes social media has altered the way visitors engage with the museum. Think more selfies and poses leaned against Hellenistic marble.

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The one hour work commute from Parkchester in the East Bronx gives him time to prepare for a long day ahead. He splits a two-bedroom with a co-worker for $1,000 a month and pays $50 in utilities. Heat and water are included in his rent, and his roommate covers the cost of Wi-Fi. He pays $90 each month for his phone bill.

The slower pace of the residential neighborhood matches the stage of life he’s in now. In the last few years, Mr. Compton has slowed down as he has come to terms with the expenses behind his art.

He no longer has free access to fabrication laboratories pegged to his university, and he has opted for the more cost-friendly hobbies of zine-making and book binding. He is, however, eyeing a $1,000 3-d printer. For now, he has settled on $20 a month Photoshop subscription.

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The largest constraint tempering Mr. Compton’s spending is his $100,000 student loan debt from graduate school. The window for his deferment period closed, and even with some money he inherited after his mother passed, he says he needs a miracle to finish paying off his loans. “I’m not sure what to do anymore,” he said.

Splurging on Plants and Experimental Harsh Noise Records

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Mr. Compton may not have any children, but he is a proud “plant dad.”

His apartment houses $1,000 worth of plants sourced through Facebook groups, pop-ups and by following Brooklyn Horticulture online. He typically pays $30-$50 for medium to large sized plants, but he is constantly on the lookout for deals.

When he isn’t at home with his plants, Mr. Compton treks into Manhattan to do his weekly grocery shopping at Trader Joe’s. He prefers the prices there to local spots in the Bronx and estimates he spends $70 each week.

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A cash guzzler of Mr. Compton’s food budget is the $20 a day — an additional $80 a week — he spends at the Metropolitan’s staff cafeteria for breakfast and lunch. When working 12 hour shifts, “I’m not gonna go home and make something to bring the next day,” he said.

On his days off, he seeks out affordable food deals. He frequents Vanessa’s Dumplings in Chinatown for their $8 dumpling special.

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When in the mood to treat himself, Mr. Compton rides the train a few more stops out to Ridgewood, Queens and Bushwick, Brooklyn, to visit his favorite record stores like Fringe Records and Nexus Records. An experimental harsh noise aficionado, he spends no less than $100 each visit.

His biggest and most recent splurge was a 10-day trip to Tokyo, Kyoto and Osaka in Japan in February. He was able to cut his $900 round trip ticket to $700 with credit card points. Add in the cost of hotels, meals and souvenirs, he spent close to $5,000 total.

“I wanted to go because my artwork had been to Japan, but I haven’t been to Japan,” he said.

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Looking Ahead

Mr. Compton wants to strike a balance between saving and enjoying the life he dreamed of in New York. To help pay off his loans, he considered applying to be an art handler for the Metropolitan, a job with a slight pay bump. But without his present benefit of overtime pay, he’s afraid he would be making less than he does currently.

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Over the years, Mr. Compton has found community among other security guards at the Metropolitan, who, like him, are artists. He has also built inroads with notable names at the museum, one being Sheena Wagstaff, the former chairman of modern and contemporary art, who he said took the time to know Mr. Compton not only as a co-worker, but also as an individual, too.

Because of his connections, he feels like he has nowhere else to go. He considered a quieter lifestyle upstate in Westchester or the Catskills, but believes he will make less money outside of the city. And, of course, he would have to leave the place he’s called home for the majority of his adult years.

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“I did four other cities, and they weren’t as good or great as I like New York,” he said. “I always end up here.”

We are talking to New Yorkers about how they spend, splurge and save.

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10-Minute Challenge: The Ceiling at Grand Central

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10-Minute Challenge: The Ceiling at Grand Central

You made it time. If you want to look a little longer, just scroll back up and press “Continue.”

Look up.

Before you commute home to suburbs like Tarrytown and Larchmont, or race toward the next stop on your tourist map, take a minute.

Look up to see the stars.

One hundred and twenty-five feet above you are 2,500 stars and six signs of the zodiac along the ecliptic, a line that represents the path of the sun across the sky:

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The signs are joined by a few others: Orion, Pegasus, Triangulum and, in the center of it all, Musca Borealis (the Northern fly, or sometimes called Apis, the bee). The Milky Way streaks across the ceiling in the opposite direction. The whole thing is ringed by intricate plaster moldings along the clerestory windows. Fifty-nine of the stars twinkle.

Who says there isn’t magic in Midtown?

The original early 1900s plan for the ceiling was to build a massive skylight so commuters could look up at the actual stars:


But time and money were short, so the architects asked the artist Paul Helleu to design a version of the sky on the ceiling instead. Helleu took inspiration from star atlases from the 1600s. His main resource was the Uranometria from 1603, a lushly illustrated volume that was the first detailed cataloging of individual stars, their positions and brightness. See how similar the figures are. This is Aries:


Here’s Taurus, the bull:

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A heart balloon — one of several — had floated up the day we took this photograph, nestling between Orion’s club and Taurus’s horn (maybe an earthly sign that this heavenly hunt might finally resolve).


Converting the flat drawings of a spherical sky re-projected onto a semi-cylindrical vaulted ceiling would have been no easy task. The design work was done by a famous scenic designer and muralist, James Monroe Hewlett, and was overseen by the Columbia astronomy professor Harold Jacoby, who in 1910 assured a panicked public that Halley’s comet would not hit Earth.

Dozens of painters got to work. The terminal opened at midnight on Feb. 2, 1913. The New York Central Railroad boasted “that many school children will go to the Grand Central Terminal to study this representation of the heavens.”


Two weeks later, a commuter from New Rochelle (and a hobby astronomer) looked up at the ceiling and realized that west was east and east was west and the sky was not, actually, in a proper arrangement. Only Orion was shown in the “correct” orientation. He wrote a “wrathful” letter to the station. As The New York Times reported in 1913, officials at Grand Central “did not deny the charge that things were a bit mixed, but held that it was a pretty good ceiling for all that.”

How this happened is still a matter of debate, given Professor Jacoby’s astronomical blessing.

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Michael Allison, a former NASA planetary scientist at the Goddard Institute for Space Studies (and a former adjunct in the Columbia astronomy and astrophysics department), met me last month at the great clock under the ceiling to explain his theory.

“I’ve stared at the ceiling I don’t know how many hours,” he said. “I keep hoping I can discover one more thing.”

The liberties taken, Mr. Allison said, like re-sizing the constellations to fit the space and flipping Orion (in relation to the rest), were carefully done. Ultimately, a good marriage of art and science. He thinks Jacoby was a victim of big project bureaucracy, that it was all a mixup.

Jacoby probably expected the design he approved to be projected overhead, where the result would match the plans if you held them above you. The painters put them on the floor instead. Hence, the flip.

But this “heavenly view” — the stars as if they could be seen from above, looking down — may not be a bad view at all.

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“There are just so many bad things happening in the world now that I think the sky offers a perspective that can lift us above that,” Mr. Allison said.

For Deirdre Newman, the great-granddaughter of the muralist Hewlett, who painted the ceiling, the imperfection “is what art is.”

Ms. Newman, it turns out, is also a painter of murals and ceilings. But these days, if she has to flip an image, she just hits a button on the projector.

“Anytime I make a mistake painting, I’m like, this proves that it’s art,” she said. “It is not perfection, and it shouldn’t be — it would be a sad thing if it was.”


The stories that we’ve given to the stars over millenniums, some of the most retold tales in history, are hardly orderly — stories of fate, violence, betrayal, revenge, sex and punishment. Cancer helps Hera in pinching a rival’s foot. Orion, son of Poseidon, is placed in the stars by Zeus, locked in an eternal hunt. The two fish of Pisces (Aphrodite and Eros) are linked together to escape the monster-of-all-monsters, Typhon.

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Or the stories are totally different if you were Babylonian or Egyptian, Greek or Roman. Today, the stars mean something else again to a devoted user of the horoscope app Co-Star, seeking reassurance after a breakup. And to a commuter standing in Grand Central, looking up while waiting for the train, the stars might just be a momentary diversion, a decorative way to pass the time. Or more.

Take what you want. Take what you need.

***

By the 1940s, the ceiling had fallen into disrepair, so they painted a whole new one on four-foot-by-eight-foot asbestos sheets over the old one. This is the version that exists today. Eventually that second ceiling, too, grew dark with grime and had to be cleaned from 1996 to 1998. The difference was stark. As you were zooming in, you may have noticed a little dark square by Cancer. They deliberately left one bit of the uncleaned ceiling here:


The best time to take all of it in — the ceiling, and the majesty of the station — might just be coming this weekend. The setting sun will line up with Manhattan’s street grid and should (pending clouds) bathe the terminal in a beautiful golden glow Saturday at 8:19 p.m. and Sunday at 8:20 p.m. I plan to be on the east balcony looking west on Sunday for that moment.

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See you there.


How we took the photograph

To generate a high-resolution panorama of the ceiling, The Times captured 232 close-up images. We then used software to stitch these photos into an equirectangular projection, to approximate the curve of the ceiling. We also developed custom computer vision software to ensure consistent color blending across varying lighting conditions. To optimize for display efficiency and clarity during navigation, the image was then re-projected into the shape of a cube. We think it’s still a pretty good picture for all that.


This is an installment in our series of experiments on art and attention. If you liked this one, you may like these past exercises: a finished, unfinished portrait; a sudden rain over a bridge; a unicorn tapestry; some buckets from Home Depot; and a Whistler painting.

Sign up to be notified when new installments are published here. And let us know how this exercise made you feel in the comments.

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