On my way home the other evening, I came across an installation by a neighbor titled "Tree of Hope." In a small, street-facing yard on the Upper West Side, a tree trunk, resembling something from a movie set, was suspended upside-down from wooden beams. Beneath it stood a table with a wooden horse atop. A plaque beside it read"TREE OF x EPOH," with "HOPE" spelled backward—correct only when viewed in reverse.
Bathed in white light projected from below, the artwork felt minimalist, elegant, ethereal, focused, and inquisitive. Its form evoked a sense of ritual, recalling ancient executions, sacrifices, and the crucifixion of Jesus. The inverted tree trunk, hung for public display, suggested execution or decapitation—a stark relic of Christmas past.