James Colomina’s bold Midtown installation isn’t just public art—it’s a striking, unsettling reflection on a legacy many would rather not glorify.
Art or Antagonism? NYC’s Latest Trump Sculpture Has the Internet Divided
A red resin sculpture of Donald Trump, emerging waist-up from a Manhattan manhole, might sound like political satire straight out of a sketch show—but French street artist James Colomina made it real. Erected stealthily at the bustling corner of East 42nd Street and 2nd Avenue in Midtown Manhattan, the piece—titled simply Donald—has already stirred fierce debate online and off. And it’s not just because it’s jarringly placed near The News Building. It’s because Colomina doesn’t just craft sculptures—he crafts confrontations.
This isn’t your average street installation or subtle political jab. Trump, cast in blood-red resin, looks up solemnly from beneath the city he once sought to conquer with glitz and ambition. A small rat, also red, lingers nearby. The symbolism? Impossible to ignore. The message? Equally inescapable.
When Protest Art Hits Too Close to Home
Colomina’s Instagram caption, “Make America Grime Again,” offers more than wordplay—it’s a harsh indictment. It reframes Trump's populist slogan into something more grimy, literally and figuratively. For many, it’s a brutally effective critique of a public figure whose political rise was as controversial as it was charismatic.
But does this sculpture spark meaningful dialogue—or simply fan the flames of division? That’s the uncomfortable question haunting this installation. And perhaps that’s the point. Colomina’s decision to depict Trump as an urban creature crawling out of the sewers forces us to examine the disconnect between image and impact—between how Trump sees himself and how others perceive his legacy.
The White House Fires Back—But Misses the Mark
White House spokesperson Abigail Jackson’s reaction was both expected and dismissive: “Imitation is the sincerest form of flattery,” she quipped. Then came the jab—“This ‘artist’ will have to go back to the drawing board. Or perhaps art school.” Predictable? Yes. Defensive? Very.
But her response ignored the deeper truth: this isn’t about flattery. It’s about discomfort. It’s about the kind of visceral unease good protest art can evoke—especially when it holds a mirror up to those in power.
Red Paint, Raw Nerve
Colomina is no stranger to controversy. His work—usually unsanctioned, always red—has appeared in cities like Paris, Tokyo, and Barcelona. He doesn’t ask for permission. He asks questions. His signature “Colomina Red” isn’t just an aesthetic choice—it’s a visual scream about injustice, anger, urgency. And in this case, about a certain brand of power many Americans are still grappling with.
Is This Art—or Political Graffiti in 3D?
Here’s the rub: in a city overrun with political noise, media fatigue, and symbolism overload, Donald still managed to get noticed. And not just by critics, but by everyday New Yorkers—tourists, commuters, and kids pointing curiously at the red figure poking out of the sidewalk. That says something. Love it or loathe it, the sculpture did what great art should do—it sparked thought.
But whether this thought leads to real reflection or just more social media noise? That remains up in the air.
A Reminder from the Underground
Ultimately, Colomina’s Trump sculpture isn’t subtle. It’s not meant to be. It’s messy. Bold. Maybe even disrespectful. But it’s not empty. For a nation still reckoning with the aftershocks of Trump’s presidency, the red figure clawing out of Manhattan’s underworld might just be the most fitting metaphor yet.