In 1999, President Bill Clinton stood across the street from New York’s Pennsylvania Station with the state’s governor and its senior senator to announce plans for transforming the area into a modern gateway for the nation’s biggest city.
Presidents do not often appear at news conferences about train stations. But Penn Station, in Midtown Manhattan, was the busiest transportation hub in North America, and Mr. Clinton had made public transit a priority. He and Gov. George E. Pataki posed beside a miniature model of a grand new train hall, while Senator Daniel P. Moynihan extolled its future grandeur.
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“Penn Station is the start,” Mr. Moynihan said, “and we will find — when we complete this project — that suddenly all will seem possible.”
More than 25 years, five presidencies and four governors later, the plan to rebuild Penn Station is nowhere near completion.
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For the 600,000 people who pass through every day, Penn Station is indispensable. It remains the busiest transit hub in the United States, with nearly double the number of daily passengers as the busiest airport, Hartsfield-Jackson Atlanta International. Much of the Eastern Seaboard might grind to a halt without it.
It is also widely abhorred. Passengers descend into a gloomy, dimly lit warren of overcrowded concourses, much of it layered in grime and corroded by decay, sitting above an array of subterranean tracks whose age creates regular snarls and delays that cost New York millions of dollars in lost productivity each day.
More broadly, it is a stagnant symbol of something deeper in America, a condition that afflicts so many attempts to get big things done: inertia. Again and again, when America undertakes big projects, politics and government get in the way.
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The owners of Madison Square Garden, the arena that sits on top of Penn Station, have rejected proposals to move it.
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Countless ideas for making Penn Station grander and more commuter-friendly have been floated and shelved over the decades. The conversion of the James A. Farley Building across Eighth Avenue into Moynihan Hall for passengers was an exception, if one that ran wildly over budget and beyond schedule. But Moynihan, named for the senator, is mostly ornamental. With each attempt to restart work on the larger underground station, progress has been torpedoed by a political rivalry or a powerful billionaire or infighting among transit agencies with their own priorities.
As yardsticks of American progress go, Penn Station does not inspire pride. Since Mr. Clinton’s appearance there 26 years ago, China has constructed nearly 30,000 miles of high-speed rail tracks and built more than a thousand new stations.
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There have been other bright spots, such as the renovation of LaGuardia Airport in New York. But that took more than eight years. Saudi Arabia built an entire transit system in Riyadh in a little over 10 years.
In the United States, the investment of billions of dollars in taxpayer money and the extraordinary undertaking of renovating century-old infrastructure are among the many reasons large projects stall before they even get off the ground.
But the failure often starts and stops with politics. Some critics blame multiple layers of federal, state and local regulations that deter investment. Some blame a progressive inclination to spread authority to community groups and individuals. Others point to extreme partisan politics as the root of the paralysis.
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Penn Station has basically the same array of tracks and platforms as when it first opened in 1910.
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“We’ve got a system that doesn’t have anyone who can actually make the decision,” said Marc J. Dunkelman, a research fellow at Brown University and the author of “Why Nothing Works.” The stasis at Penn Station is a “microcosm of why generally government doesn’t work,” he said.
Eliot Spitzer, a former Democratic governor of New York, said Penn Station was “a classic example” of how “fractured decision-making” leads to delays and conflicting priorities.
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“When you have that many entities involved, it makes it nearly impossible to get a resolution,” he said.
Penn has long been a station divided, carved up into fiefs occupied and maintained by railroads whose managers constantly compete for authority and resources.
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The station itself, sitting beneath Madison Square Garden, is owned and controlled by Amtrak, the national passenger railroad.
But its primary users are two state-run transit agencies: The Metropolitan Transportation Authority, which runs the Long Island Rail Road in New York, and NJ Transit. Each has exclusive use of some tracks and platforms.
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But they must share most of the tracks and platforms with Amtrak, which has the ultimate say over train movements in and out of the station.
The tension among those three agencies has been compounded by the intransigence of James L. Dolan, the billionaire whose company owns Madison Square Garden, which has squatted atop the station for more than 60 years. Their failure to collaborate on a solution has left Penn mired in a sorry state that has been lamented by a generation of everyday commuters.
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In New York, a long line of strong-willed elected officials — Mr. Spitzer included — have pledged that a makeover of Penn Station was on the way.
In 2006, Mr. Pataki, the Republican governor, spoke of creating “a visionary new Pennsylvania Station.” His successor, Mr. Spitzer, said in 2008 that he was committed to a revamp of Penn that would “redefine Midtown Manhattan.” In 2016, Gov. Andrew M. Cuomo likened the station to “seven levels of hell” and, rolling out his own $3 billion plan, vowed, “This will get done.”
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Most recently, the current governor, Kathy Hochul, said that “New Yorkers do not deserve what they have been subjected to for decades at Penn Station” and presented a revised version of Mr. Cuomo’s proposal with an estimated cost of more than $6 billion.
After all of that talk about all of those visions, Penn Station remains a confusing, overburdened labyrinth of hallways and stairwells buried beneath a 20,000-seat entertainment venue.
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Penn Station now serves more daily passengers than even the busiest airport in America.
Its century-old infrastructure takes frequent bites out of the metropolitan economy: Every hour of delay for commuters from Long Island or New Jersey costs the city’s employers nearly $20 million, according to an inflation-adjusted estimate from the Partnership for New York City, a business group.
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Kathryn S. Wylde, chief executive of the partnership, said in 2017 that “Penn Station is a symbol of the failure of America to keep up with the escalating demands on urban public transportation.”
She reiterated that sentiment in September: “Nothing has changed.”
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Community advocates agree. “We really do have a tragic level of institutional dysfunction with warring entities,” said Lynn Ellsworth, who in 2020 co-founded the Empire Station Coalition, which called for a redesign that would render Penn Station more efficient, more welcoming and easier to navigate.
The railroads that coexist within the station, Ms. Ellsworth said, “don’t have the managerial competence to rise above their parochial self-interests.”
Modern Structural Problems
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Penn Station is a layer cake of inadequacy, with three levels that complicate all efforts to improve service for the thousands of people passing through every day.
New York officials have frequently likened a trip through Penn to a descent into hell. Andy Byford, the Amtrak executive recently put in charge of overhauling the station, described the platforms as a “dark, gloomy, boiling-hot, narrow and cramped situation.”
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On the bottom, hundreds of daily trains are confined to essentially the same century-old 21-track layout built for smaller, less frequent trains. The time it takes to get trains in and out of the station is now a main cause of delays and slowdowns.
In the 1960s, when Penn Station was rebuilt with Madison Square Garden atop it, more than 1,000 columns were driven through the platforms, into the bedrock of Manhattan, to support the massive venue and an adjacent office tower.
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In 2025, all those columns — plus staircases, escalators and elevators — force passengers to squeeze through narrow gaps that are sometimes only a few feet wide. Currently, there is not enough space on each platform to hold both arriving and departing riders.
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As passengers ascend to the concourse, they are confronted with a low-ceilinged maze of subterranean corridors into which no natural light has ever shone.
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Track assignments aren’t announced until the last minute to prevent collisions between departing and arriving passengers. So people clump together on the concourse levels — like in this cramped, poorly ventilated NJ Transit waiting area.
The biggest obstacle to a total overhaul of Penn Station is the arena that replaced the original station in the 1960s. Any rearrangement or expansion of the tracks and platforms on the bottom must first grapple with the forest of steel beams holding up the Garden.
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Right now, Amtrak is focused on the construction of a new two-track rail tunnel under the Hudson River, a $16 billion project known as Gateway. (This fall, the Trump administration suspended federal funding for the project and threatened to terminate it in an apparent attempt to pressure Democrats amid a government shutdown.)
The Gateway project would significantly increase train capacity across the Hudson and would require big changes at Penn Station.
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The Garden’s owners, who own the air rights for any development above the station, have resisted recent attempts to arrange the arena’s relocation. In 2023, city officials renewed the Garden’s operating permit for an additional five years.
At the time, Mr. Dolan, the chairman of MSG Entertainment, said in an interview: “Another five years and there’ll be some changes in the political structure and we’ll go at it again. Nothing is going to happen.”
In that 2023 interview, Mr. Dolan expressed doubt that the station’s stakeholders would agree on a comprehensive plan to improve it any time soon.
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“We never get to the finish line, and it’s because of all the politicking and bureaucracy and because of all the different constituencies,” he said. “I mean, there’s New Jersey Transit, there’s Amtrak, there’s the M.T.A., there’s the governor’s office, there’s the city. And everybody has to say yes. And everybody’s got a stick in the fire.”
The roots of all this dysfunction can be traced back more than a century.
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In 1901, Alexander J. Cassatt, the president of the Pennsylvania Railroad, was a frustrated train traveler. To get from Philadelphia to New York City, he had to transfer at his company’s easternmost terminal in Jersey City to a ferry that would carry him the last mile across the Hudson River.
At the time, the country’s rail system was a robust collection of independent companies vying for prominence on the most popular routes. Collaboration was never in their DNA.
His railroad’s main rival, the New York Central Railroad, had already built itself a terminal in the heart of Manhattan, which later became Grand Central Terminal. Mr. Cassatt burned for a competitive foothold in the nation’s largest city.
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“We must find a way to cross,” he said, according to “Conquering Gotham,” a 2007 book by Jill Jonnes.
Within 10 years, Mr. Cassatt’s company had completed the unprecedented feat of digging a tunnel under the Hudson to connect to a station it had created west of Seventh Avenue in Midtown: the new Pennsylvania Station.
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The Pennsylvania Railroad, commonly known as the Pennsy, declared that the station would have “the character of a monumental gateway and entrance to a great metropolis.”
When it opened in 1910, it was heralded as the largest building ever built at one time. Modeled after the Baths of Caracalla in Rome, the Beaux-Arts station was constructed of pink granite, travertine marble and glass skylights.
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Unlike now, arriving passengers ascended into a palatial train hall with an airy concourse topped by vaulted ceilings.
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“In our history, there was never another building like Pennsylvania Station,” the architect Philip Johnson wrote. “It compares to the great cathedrals of Europe.”
The tracks connected the station to new tunnels under the East River, as well as the Hudson, allowing trains to reach Manhattan from the east and the west.
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Then, in the 1960s, the glorious original station was torn down to make way for the Garden, and train riders were moved underground. The demolition of Penn became a rallying cry for preservationists.
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Originally, Penn Station was the province of the Pennsy’s intercity trains and Long Island Rail Road commuter service.
That centralized control could have continued after the mid-1960s if not for one critical error, said Mitchell Moss, a professor of urban policy and planning at New York University.
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In 1965, Gov. Nelson A. Rockefeller had New York buy the struggling L.I.R.R. for $65 million and created the Metropolitan Transportation Authority to manage it. William J. Ronan, the man Mr. Rockefeller hired to run the authority, told Mr. Moss that Rockefeller had passed up the opportunity to also acquire Penn Station for a price that would seem like a screaming bargain today, Mr. Moss recounted.
“He felt that was a terrific mistake,” Mr. Moss said, recalling their conversation at the Everglades Club in Palm Beach, Fla., about 12 years ago.
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“The fundamental original sin was not buying Penn Station,” said Mr. Moss, a critic of how Amtrak has managed the station. “That’s the key error, and that has created a lack of clarity about who controls Penn Station.”
Instead, the M.T.A. wound up as a tenant of Amtrak, the federal corporation that inherited many of the Pennsy’s assets after a 1970 bankruptcy.
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More than a thousand steel support beams contribute to a cramped feeling on the platforms.
Like NJ Transit, the L.I.R.R., the busiest commuter railroad in the country, has carved out its own separate and unequal territory within Penn Station.
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The dividing lines are clear, at least to those who understand the station’s entrenched rules of engagement, as Janno Lieber, the chairman of the M.T.A., does.
Standing beneath a tangle of exposed pipes and wires in a corridor known as the Hilton Passageway, Mr. Lieber explained that each of the railroads is responsible for maintaining its own turf, including the platforms and tracks that only it can use.
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North of the passageway, his agency handles the waxing of the floors and the cleaning of the restrooms. Its police force patrols the concourses.
South of the passageway, those burdens fall on NJ Transit, a perennially struggling state-run corporation. Its workers, clad in fluorescent green T-shirts, replace lightbulbs and scrub the metal prison-style toilets.
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The station has several street-level entrances leading down to the various railroads’ concourses.
Each railroad has its own dedicated entrance at the front of the station on Seventh Avenue.
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NJ Transit’s leads to a waiting area that is cooled by a fleet of large, portable air-conditioners whose exhaust is vented through white ducts that snake up to the ceiling. The cramped area is known to commuters as “the pit” because of how crowded it gets during evening rush hour.
L.I.R.R. customers enter through a broad concourse that was recently widened, brightened and filled with cafes and fast-food shops. Mr. Lieber called it “a much more functional environment” that had come about because the transportation authority chose not to wait for an agreement with the other railroads and, on its own, overhauled just the areas it managed.
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“We kind of took control of our destiny and said this can’t go on any longer,” Mr. Lieber said.
Untangling the knot of Penn Station’s shortcomings is a challenge that has long stymied New York’s most powerful elected officials.
In 2005, Gov. Eliot Spitzer came as close as any governor ever has to clearing the way for a more majestic rebuild of Penn Station when Mr. Dolan agreed, in general terms, to the relocation of the Garden across Eighth Avenue.
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But the plan met opposition from preservationists. Mr. Dolan wanted to back out, but Mr. Spitzer, who called himself a “bulldozer,” plowed ahead. In March 2008, the two men had a tense meeting that Mr. Dolan later recounted to a New York Times reporter. “He was tough,” Mr. Dolan said of the governor.
A week later, Mr. Spitzer was caught up in a prostitution scandal and resigned. By the end of the month, Mr. Dolan’s company announced that the Garden was “not moving,” effectively killing any hopes for Mr. Spitzer’s plan.
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Several years passed before another brash Democratic governor, Andrew M. Cuomo, took on the challenge of fixing Penn Station — without trying to move the Garden.
In 2016, Mr. Cuomo unveiled a $3 billion plan to “dramatically renovate” Penn Station, starting with a long-stalled idea to convert the neighboring Farley Building, which had been the General Post Office, into a train hall that would serve as an annex for Penn.
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Moynihan Train Hall, shown under construction in 2017, occupies a former post office building on Eighth Avenue.
Holly Pickett for The New York Times
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That idea, first broached by Senator Moynihan, had “languished because of a lack of financing, political inertia, squabbles with transportation agencies and the developers’ ambitions,” The Times reported in early 2009.
Mr. Cuomo’s plan centered on a partnership between the state and two of the country’s biggest developers, Related Companies and Vornado.
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The governor became intensely involved, even threatening at one point to replace the private partners because they were not moving fast enough. He drove that project over the finish line at the end of 2020, more than 25 years after it was first proposed.
“Moynihan is a really good Phase One; it’s the appetizer,” said Vishaan Chakrabarti, a New York architect who has been calling for a radical overhaul of Penn Station since 2016. “But the main station in the subbasement of the Garden is the entree.”
Transportation experts give credit to Mr. Cuomo, who resigned as governor in 2021 amid sexual harassment allegations and ran unsuccessfully for mayor this year, for applying his famously abrasive personality to get Moynihan Train Hall finished.
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But they also note that the project was much less costly and less complicated than renovating Penn Station. New Jersey had little say in the design of Moynihan, and the fact that many NJ Transit trains are accessible from its glass-roofed hall goes virtually unmentioned inside the building.
As soon as Kathy Hochul succeeded Mr. Cuomo, she made improving Penn Station a priority. Within months of taking office, she stood at a lectern in the station and promised it would be transformed from a “hellhole” into a world-class transit hub.
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Some proposals have suggested reorganizing the region’s rail system to have trains continue past Penn, a practice known as through-running.
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The M.T.A., which the governor controls, would take the lead on managing a rebuilding plan with an estimated cost of close to $7 billion, she said. Amtrak and NJ Transit accepted supporting roles in the planning.
“It’s going to right the wrongs of the past,” Ms. Hochul said. “It’s going to jump-start something that should have been done a long time ago.”
Ms. Hochul indicated that the state was open to suggestions for how Penn should be improved, and proposals began to roll in. A private developer, ASTM North America, teamed up with Mr. Chakrabarti’s studio, PAU, to propose a design that would require the acquisition and removal of a theater attached to the Garden along Eighth Avenue. Amtrak officials supported the concept, but Mr. Lieber rejected the idea of paying a large sum to Mr. Dolan’s company.
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Other architects put forward different ways of renovating the station. Some revived the idea of building a new home for the Garden nearby. Others centered on reorganizing the region’s rail service so that Penn would not have to be expanded at all.
All of them awaited word from New York officials about how and when the project would get rolling.
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Can Trump Make It Happen?
After Donald J. Trump was elected president again last November, Ms. Hochul asked him to have the federal government cover most of the cost of a new station, she said. She even floated the idea that it could be renamed after him.
Rather than bankrolling New York’s plan, the Trump administration announced this spring that it had lost faith in the state’s ability to manage the project and reassigned it to Amtrak. Sean P. Duffy, the transportation secretary, appointed Mr. Byford, who earned the nickname “Train Daddy” when he oversaw the city’s subway system from 2018 to early 2020, to take charge of the “transformation” of Penn Station.
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Some advocates of the renovation said they worried that Mr. Trump’s involvement would set the project back to square one. But others said that having decision-making power concentrated in a president who sees himself as a builder might be the best recipe for a better Penn.
“He just took over Penn Station,” Mr. Cuomo said in a recent interview. “The M.T.A. was working on it for years and had a whole plan.” The former governor added that he expected that Penn was “going to wind up being Trump Station, in the heart of Manhattan.”
Ms. Hochul responded to the federal intercession by withdrawing New York’s financial commitment.
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Sean P. Duffy, left, the transportation secretary, appointed Andy Byford to oversee the rebuilding of Penn Station.
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Michael M. Santiago/Getty Images
In a recent interview, Ms. Hochul said she was not abandoning the project. “I’m just happy that I don’t have to put money in it,” she said.
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Recounting a conversation with Mr. Trump, she said she had pointed out that Amtrak owned the station. “Why should we have to pay for a building that’s owned by this other entity?” Ms. Hochul said she had asked Mr. Trump.
Still, she told the president: “We have the possibility of getting this underway before you leave office. Let’s make that our goal,” she recalled. “He agreed.”
Now the future of Penn Station rests with Mr. Byford, who said he had been told to get construction started before the end of 2027. He laid out an accelerated schedule that included a solicitation of bids from private companies that want to serve as the project’s master developer. Amtrak will make a decision by May 2026, he said.
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Mr. Byford said the bidding would be “an open and fair competition with no preconceived notions of the outcome, but it will be conducted to a very aggressive timeline.”
He said Amtrak’s longstanding plan to expand the station by taking over all or part of a neighboring block of Midtown was “on hold” to focus attention on the makeover. In the meantime, he said, federal transportation officials will study whether having commuter trains pass through Penn and continue on to stations outside the city instead of turning around — a practice known as through-running — could accommodate projected growth in rail traffic in the region.
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Transit advocates have long bemoaned the political morass that has slowed down efforts to fix Penn.
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Ms. Ellsworth, a proponent of running the L.I.R.R. and NJ Transit trains through the city and into each other’s territory, said she had been calling for the federal government to put an end to the infighting and red tape that had thwarted all hopes for an improved station.
“We need a parent to come in here and knock heads between the various entities,” she said.
Mr. Dunkelman of Brown University was skeptical that “you’re somehow going to bring in a czar who can wrangle all the separate interests.”
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“Maybe the Train Daddy will figure it out and get it done, but the fundamental issue here is not one of personality or incompetence,” he said. “It’s a political octopus built to fail.”
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.
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.
Ed Shanahan has been the editor of Metropolitan Diary for 10 years. Agnes Lee has drawn more than 2000 illustrations for the weekly column since 2017.
Welcome to Day 2 of the Metropolitan Diary challenge, part of our celebration of the column’s 50th anniversary. On Day 1, we gave you tips for identifying your New York City story. Today, we’ll help you write it. (Missed Day 1? It’s not too late to start.)
What makes for a good Diary? It’s simply a good story that happens to be set in, and capture, the essential New York-ness of the city. While this isn’t a full writing course, we do have guidance on the kinds of elements that the submissions we publish include. They typically have: a beginning, middle and end; sharp details; catchy dialogue; a bit of surprise; some humor, warmth or emotion. But there is no formula, so flouting these loose rules can be worthwhile.
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Don’t worry if you don’t think of yourself as a “writer.” Focus on being a “storyteller.” Pretend you are telling your story to the person who’d most appreciate it, using whatever conversational language or pacing that would hold their attention. Do it out loud if you want, maybe give that person a call and tell them your story (or tell it to them again). Then write it down.
That’s the big picture. For more tips, read on.
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Here is an example of a published Diary that we (and readers) really liked, and a few thoughts on why that may help crystallize yours.
Unacceptable
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Dear Diary:
I went to a new bagel store in Brooklyn Heights1 with my son.
When it was my turn to order, I asked for a cinnamon raisin bagel with whitefish salad and a slice of red onion.2
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The man behind the counter looked up at me.
“I’m sorry,” he said. “I can’t do that.”3
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— Richie Powers
One of this item’s best qualities is that it is short and snappy. Only 53 words! Although we will use stories of up to 300 words, many don’t need to be that long and the column doesn’t work if we don’t have a mix of long, medium and short, so we are always looking for stuff like this. Here’s another one!
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At Attention
Dear Diary:
It was December 1967. I had just finished basic training at Fort Dix in New Jersey and was traveling to Boston in uniform. For reasons I no longer recall, I stopped in New York City on the way.1
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Walking on the Upper East Side2 in a snowstorm, I spied another man in a uniform. He was older, and his cap bore the familiar gold band that identified him as an officer.
I rendered a snappy salute. It was not returned. 3The uniform was unfamiliar, so I guessed he was a foreign officer. Military courtesy still required me to salute.
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A little farther down the street, I encountered another officer and offered another salute that went unacknowledged.4 His uniform was strange to me as well.
The third time it happened, the man I saluted ignored me while holding the door for a couple 5on their way into a large apartment building.
I realized I had been saluting doormen.6
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— Stephen Salisbury
To get your storytelling muscles going, think through or jot down the answers to some of these questions.
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Let’s start with setting the scene.
When and where in the city did this happen? Is this place well-known?
Was there anything particular about that point in your life that’s relevant?
What did you see, hear, smell? Was there something notable about the weather?
Now, let’s move to the middle, the meat of the story.
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Did you have an exchange with someone?
What details are important to how events unfolded, especially in setting up the ending?
And now, the end.
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What’s the resolution? Is there a punchline?
Does the story end with a sense of shared humanity or some other warm feeling that lingers? You don’t need to name it. A good description will often allow readers to feel it too.
Why has this experience stayed with you?
Lines like “and that’s why I love New York” are almost always unnecessary.
That’s it. Keep your story simple and use the kind of plain language you use in conversation. You are sketching a moment in time. The details are important. Let them move the story along. Have fun and good luck.
Once you’re done, read through what you’ve got. What details are less important and can be left out? (Remember, there is a strict 300-word limit.)
Write your Metropolitan Diary however you like, on paper, on your phone or wherever! When you’re happy with what you’ve written, put your diary entry into the box below, fill out your information and submit it. You might just hear from me about including it in a future column.
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That’s it! Submit your Metropolitan Diary.
This is the official submission form, so make sure to double-check your work before hitting submit.
By transmitting your submission, you grant The New York Times Company a perpetual, royalty-free license to use the submission in any medium. They may be edited, and may be republished and adapted in all media. You may reprint your story elsewhere after it appears in The Times.