This may be a first for the New York Times: a review of a wall painted with graffiti art. Roberta Smith tries to situate the Os Gêmeos mural on the corner of Houston and Bowery within art history while also giving credit to the Brasilian brothers and the world of street art it commemorates. The mural, after all, is a tribute to Dash Snow:

While the onslaught of figures, episodes and colors is at first overwhelming, a casual left-to-right reading suggests some narrative possibilities. Basically what we have here is a tale of escape and growth that begins in darkness and — after taking a few tips from the Bible, Hieronymus Bosch and M. C. Escher — ends in a stunning vortex of brilliant color. At far left, in the gray dimness of a narrow, cell-like space, a small figure strains toward the golden light seeping through a chink in the wall. Wearing pants, a jacket and a girlish scalloped bonnet and shouldering a bag, she’s leaving home, as the song says. A small spotted dog watches from the safety of a tenderly, elaborately wood-grained floor.

Through the chink the golden world awaits, arrayed around and above what seems to be a nearly circular waterfall; it’s a world populated by spirit guides, with or without gills. And it all adds up, or at least it is all visibly linked. You’re supposed to keep going, from one thing to the next, gaining wisdom along the way.

A World Springs to Life on an Urban Wall (New York Times)