Above Ground – The Museum of the City of New York Celebrates Graffiti History
Written by Sonali Sinha
Published on September 29th, 2025
Vandalized subway cars become sacred pictures in museum exhibits. A kid with some spray paint becomes one of the most well-known graphic designers in the world. The caps of spray cans no one gave a second thought to become instruments of artistic study.
The Museum of the City of New York’s Above Ground: Martin Wong Graffiti Collection exhibit recaptures the city’s graffiti movement during the ‘70s and ‘80s. It will be open until October 5, 2025. Graffiti has become a well-known cultural artifact of New York City, but its vibrant, rebellious, loud nature would never exist if it weren’t for the teenagers who started writing out their names on walls never meant for them. Writing that the city spent over $300 million in trying to cover up.
As I walked the halls of the museum, I was invited in by Sean Corcoran, the curator of the exhibit. Completing a quick walkthrough of the room, I was greeted by framed pictures of subway cars, a video tutorial on writing your own tag, a documentary on Martin Wong, and large pieces from Martin Wong’s collection gracing the walls.
As Sean graciously gave me a tour, he explained to me that the main point he wanted to communicate was that throughout the ‘70s and ‘80s, talented writers who had the ambition to explore their craft had opportunities throughout those decades to become studio artists. In addition, each of the pieces selected were showing off the different art styles and techniques the artists explored as they grew into their legitimacy.
Seeing the earliest emergence of graffiti with tags or murals on subways, done by a bunch of teenagers and then walking a few feet towards their biggest works that would eventually go on to be shown in galleries, featured in magazines, or influence global pop culture, was experiencing a visual evolution of artistry. These were no longer rushed works where they were looking over their shoulder to get something done. When the writers traded prohibited spaces for canvases and a jolt of adrenaline for contemplation about the message they want to deliver, and thought about how it will be hung in a space meant to be seen and reflected upon, “they were also leaving behind the mentality of panting on trains.”
This transition manifested itself into a range of expression from abstraction to pop art to space age. As artists considered what parts of themselves and their art they wanted to carry forward into the studio and what parts to leave in the past, they created canvases decorated with spray paint. Their extended time allowed them to experiment with different spray techniques. Before that point, spray cans only had one or two caps. To accommodate artists, companies started creating more specific and sophisticated designs. Others took up acrylic paint as their medium. In Lady Pink’s piece, you see her name boldly painted in the form of a building with a silhouette of her hidden behind the window bars of her own creation.
We stood in front of an unfinished work by Lee Quiñones, which also happened to be Sean’s favorite piece. On the large canvas there was a pencil sketch of a train, a few parts painted uncannily realistic to the same ads you see on subways. “It’s incredible craftsmanship. I use this piece because a lot of people think graffiti writers weren’t serious, or technical craftsmen. The work on trains could sometimes appear sloppier, or off-the-cuff. The working conditions in the train yards was not very favorable. Something like this shows hours and hours of work. A dedication to what they were doing.”
After walking around and reading about the pieces, I indulged in the video tutorial of creating my own tag, recreating the same processes the teenagers back then used to identify each other with their art. I drew out the initials of my Instagram as I reflected on how the pieces surrounding me had a worldwide impact. Then I made my way over to the looping documentary about Martin Wong, the sole reason the exhibit was able to exist in the first place.
In the best way, Martin Wong was a crazy artist. Many of the first impressions he created left people describing him as eccentric. His time working at Pearl Paint gave him the perfect opportunity to meet and befriend artists. His support extended much farther than enthusiasm, as he would supply artists with canvases worth $400 for $50. His affinity for graffiti art drove him to attend several graffiti events, collect, and trade art. In the early ‘80s, artists saw great success selling their work, but it dwindled during the late ‘80s.
His belief in his friends made them realize that their own artwork was good enough to be taken seriously. At the same time Martin pursued his most ambitious artistic endeavors, New York City was also on the edge of bankruptcy, as it was experiencing white flight and drowning deep in crime and drugs. After I was done learning more about him, I realized that the power of his belief was so strong that it echoed across decades, allowing people to experience the same awe he did when he experienced all the beautiful art decorating the room.
Martin Wong may have been another streak in the story of New York, but his love for graffiti created a prominent stain that would shape the city for years to come. He was not just an amazing friend or an eccentric artist; he was a visionary.
As you walk down Canal Street, whether it’s blank walls waiting to be painted or someone screaming through their art, graffiti has become a cherished part of the city. The rebels who cemented their voice through their streaks of paint were also the force that challenged the city to stay true to its essence in its darkest times. Going forward, the forces of mainstream and disruptive rejectors will be a timeless, recurring story. Whether it’s to make your voice heard or protest the current state of things, the colors on the wall will bleed through into hearts, minds, and the imagination of the world.
Sonali Sinha is a multimedia artist. She received a dual degree in Marketing and Journalism from Rutgers University. She has created animations, clothes and jewelry made from recyclable materials, pen sketches, etc. As long as the art is awesome and magical, she’s happy with it. Most of her creations are guided by her intuition as she frequently receives visions she needs to channel. In her free time, she likes to skateboard, listen to music, and play with her dog.