On a bustling morning in Midtown Manhattan, unsuspecting pedestrians found themselves in the middle of a provocative public art moment. Rising dramatically from a manhole at the intersection of East 42nd Street and 2nd Avenue was a life-size, bright red sculpture of former U.S. President Donald Trump.
With lips pursed and a stern expression, Trump appeared to be emerging from the city’s underbelly, flanked by a small red rat peeking out of the manhole beside him. This wasn’t a stunt or an elaborate prank—it was the latest creation by renowned French street artist James Colomina.
The installation, titled simply “Donald,” is a vivid and bold critique of Trump’s legacy, designed to disrupt the architectural and psychological landscape of the city he once dominated. Known for placing politically charged red sculptures in high-traffic public spaces around the world, Colomina’s newest work continues his tradition of sparking conversation through confrontational visual symbolism.
Red Trump Sculpture Pops Up from NYC Manhole
James Colomina has made a name for himself by transforming ordinary urban settings into stages for cultural and political commentary. His distinctive, life-size red sculptures have appeared in global cities like Paris, Barcelona, and Tokyo—each time igniting reactions ranging from admiration to outrage. He works covertly, installing his pieces without official permission, aiming to disrupt routine and compel reflection.
Colomina’s signature style—dubbed “Colomina Red”—is a bright crimson hue that he uses to symbolize urgency, emotion, and confrontation. According to the Galeries Bartoux, where his artist profile is featured, this red is not just an aesthetic choice but a deliberate act of rebellion and expression. “The ‘Colomina Red’ embodies the anger, passion, and urgency of the issues he tackles,” the site explains.
Colomina completed “Donald” in roughly three weeks at his studio in France. He then carefully disassembled the sculpture for transport and reassembled it on-site in Manhattan, without drawing attention. The installation method reflects the artist’s guerrilla-style approach to street art, where surprise and location are as integral to the artwork as the piece itself.
🔴In the heart of Manhattan, an unusual sculpture of Trump emerging from a manhole appeared
— NEXTA (@nexta_tv) July 23, 2025
Under the manhole cover next to the U.S. president, a bright red rat was also spotted. The installation appeared in the city early in the morning, but workers later dismantled the… pic.twitter.com/puEQB9zyTz
For Colomina, Trump’s connection to New York made it the obvious choice for the installation. “I installed the sculpture in New York because this is where he built his image, his empire, his legend,” he told USA Today. “A city he tried to conquer with golden towers and brutal slogans. I wanted this image – a red body rising from the sewers – to disturb that landscape.”
Symbolism, Reaction, and the Political Undertones
Beyond its striking appearance, the sculpture carries heavy political and symbolic meaning. Emerging from a manhole, Trump is portrayed as a grotesque, almost caricatured figure attempting to claw his way back into the spotlight from beneath the surface. The addition of a small red rat—often a symbol of decay or filth—only amplifies the sculpture’s critical tone. It suggests corruption, societal rot, and the divisiveness associated with Trump’s political career.
The location was also chosen with deliberate contrast in mind. Positioned in front of The News Building—an iconic Manhattan skyscraper that symbolizes journalism and media integrity—the sculpture stands in metaphorical opposition to Trump’s fraught relationship with the press. “I liked the idea of creating a stark contrast between this vertical monument and the grotesque figure emerging from the sewers,” Colomina explained.
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The sculpture’s unveiling drew swift public reaction, especially online. Images of “Donald” posted by Colomina on Instagram with the caption “Make America Grime Again” (a clear parody of Trump’s “Make America Great Again” slogan) prompted mixed reactions. Some users applauded the artistry and message. One Instagram user wrote, “Love this,” while another commented, “Super evocative.” Others hailed Colomina as a genius, admiring the thought-provoking nature of his work.
However, not everyone appreciated the artistic critique. A White House spokesperson, Abigail Jackson, reacted with scorn, telling USA Today, “Imitation is the sincerest form of flattery.” She added, mocking the artist, “This ‘artist’ will have to go back to the drawing board. Or perhaps art school.” Her comments suggest that while some interpret the sculpture as a powerful statement, others dismiss it as a tasteless attack.
Colomina’s intention, however, is not to appeal to all. His art aims to challenge, unsettle, and provoke—not to comfort or entertain. “Make America Grime Again” encapsulates his intent to subvert and deconstruct rather than idealize or glorify.
Art in the Political Arena: The Cultural Legacy of Guerrilla Installations
Public art has long served as a reflection of cultural tensions and political resistance. From Banksy’s street murals to performance protests, artists have used public spaces to comment on authority, injustice, and societal values. James Colomina’s “Donald” falls squarely within this tradition, using the physical space of Manhattan—the symbolic heart of American capitalism and Trump’s personal kingdom—as a stage for satire and dissent.
Trump, who built his brand and real estate empire in New York City, has always maintained a complex relationship with the city. While once regarded as a celebrity icon in Manhattan’s glitzy social circuit, his presidency and political rhetoric shifted public perception. By choosing to depict Trump not towering above the skyline in a golden skyscraper but instead rising from beneath the city in a red sewer-born form, Colomina delivers a biting inversion of Trump’s self-image.
The use of humor, exaggeration, and grotesque imagery is a classic technique in political art. Satirical sculptures and cartoons have targeted leaders for centuries, from Napoleon to Nixon. What makes Colomina’s work particularly effective is its immediacy and accessibility—it appears without warning in the public sphere, requiring no ticket, gallery, or invitation. It forces engagement simply by existing in the viewer’s path.
Colomina’s decision to remain anonymous during the installation process adds a layer of mystery and emphasizes the artwork over the artist. It also highlights the tension between official power structures and the subversive voice of the street artist—a voice that can emerge uninvited, much like the red Trump from the NYC manhole.
As for whether Trump himself will respond to the sculpture, time will tell. Historically, Trump has been quick to address perceived slights, especially those delivered through the media or public art. But whether ignored or acknowledged, the impact of the sculpture lies in the conversation it generates.
In a city where public art often leans toward celebration and commemoration, Colomina’s “Donald” is a stark reminder of art’s disruptive potential. It’s not just a sculpture—it’s a statement, a question, and a challenge all rolled into one red figure rising from the cracks beneath New York.