WPA painter and onetime New York City resident Nathaniel C. Burwash didn’t want viewers to know the exact location of his nocturne of a pushcart market under the elevated.

The crudely painted street sign on the street lamp is unreadable; the signs under the “meat provisions” pushcart don’t add up to anything. Faces are amorphous or turned away, and the elevated train tracks over narrow streets could be in almost any downtown neighborhood during the Depression years.
Though we don’t know the precise address in “New York Pushcart Section No. 2,” Burwash’s mysterious name of the painting, we can easily recognize the New York-ness of the scene: the activity of an outdoor marketplace, the arrangement of the pushcarts, the interest (and disinterest) on the part of shoppers and pedestrians lost in their own interior worlds.
Illuminated by a street lamp and the inside lights of what looks like a passing train on the far side of the painting, it’s a scene that captures the everyday rhythm of an ordinary neighborhood from afar, with a deliberate degree of anonymity.