An attendant exerts all his strength to squeeze in as many passengers as possible into a car at the 28th Street Station in New York. The most prominent passenger feature is the contorting face of a Black man. He is surrounded by white riders, one of whom is trying his best to read the newspaper, a little girl, who stands with her legs akimbo, and a white woman, obscured by the window. The hectic scene muddles the identity of body parts, more akin to a game of Twister than a fantasy of public mobility across an urban landscape. Reduced to limbs and faces, the diverse passengers portrayed in Bernard Brussel-Smith's 1940 lithograph demonstrate its title: Subway Crush.1

中文翻译：

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地铁粉碎

在纽约28街车站，一名乘务员竭尽全力将尽可能多的乘客挤进车厢。最显着的乘客特征是黑人扭曲的脸。他周围都是白人骑手，其中一个正在尽力读报纸，还有一个叉腰站着的小女孩，还有一个被窗户挡住的白人妇女。忙碌的场景混淆了身体部位的身份，更像是一场扭扭乐游戏，而不是公共交通穿越城市景观的幻想。伯纳德·布鲁塞尔·史密斯 (Bernard Brussel-Smith) 1940 年的版画中描绘的形形色色的乘客被简化为四肢和面孔，展示了它的标题：地铁粉碎。1