Technical and technological changes have caused dislocations in urban structures. The city as the place of representation and the image of the city defined by center and periphery have become obsolete. While the early 20th century interventions of urban planning destroyed the structures that had developed in the course of centuries they still confirmed the city as a consolidated architectural and socio-economic system. Nowadays the urban structures are progressively breaking apart as a result of telecommunicative networking and economic globalization, producing an image of the city that is perforated and frayed at the edges. City centers become museum-like sightseeing zones and adjacent areas are reduced to boring passages on the way to shopping malls and habitats in rampant suburbia.
New York City is an example of a/the city that is visible proof of the urban borderline situation with its symptoms of decline, architectures that have become devoid of function and abandoned by people; sites shifting to non-sites; the other image of the city.
This project, realized in 1996, focuses on the areas of the old harbor in Red Hook: warehouses, piers, docks, architectures out of function and progressively decaying, mark the emptiness caused by the economic downturn of a trading place and its infrastructure.

In question are transgressional processes that have been explored photographically, simultaneously reflecting upon the medium of photography itself: the regular photographic process was subverted by cross-processing that points up the fact that photographs are always already reversed records. Like phantoms the cross-processed images in their chemically generated colorfulness and luminosity refer to the spatial order of an industrial society and the non-locality of an information society.

The title NY TRESPASSING resonates the shifting and the transgressional mo(ve)ment of crossing into prohibited areas marked NO TRESPASSING; thus inscribing the name of the city into the changing of its image.