Topographical Map of the City and County of New-York and the Adjacent Country 1836 - 1858

Editor: Here we have David Burr’s "Topographical Map of the City and County of New-York and the Adjacent Country," made with pencil, print and paper, dating from 1836 to 1858. The density of detail is astounding, and it gives me a sense of the scale of urban planning. How do you see this piece relating to New York’s history? Curator: I see it as a document deeply embedded in the narrative of Manifest Destiny and territorial expansion. Consider that it was created during a period of intense social and spatial restructuring. How do you think the idea of mapping itself is implicated in those processes? Editor: That’s interesting; it hadn't occurred to me that the creation of the map itself was also political. I suppose it highlights who has the power to define and claim space. Curator: Precisely! Mapping is never neutral. Think about how this map represents indigenous lands or perhaps erases them. Maps are tools that create and reinforce power dynamics. Who gets included and excluded matters immensely, don’t you think? Editor: Absolutely, especially thinking about whose stories are being told. How does that context shift your interpretation of the visual composition itself? Curator: The meticulous detail then becomes a signifier of control and ownership. The act of mapping every street and building naturalizes a certain social order while potentially obscuring other histories and communities. Think of Seneca Village. Can you see it here? Where is it in relation to the gridded portions? Editor: I see your point. It becomes much more than a simple depiction of geography, highlighting societal structures and marginalization that existed. Curator: And continue to exist! I think analyzing artworks like this helps us grapple with these critical perspectives. Editor: I agree! I never thought a map could spark such thoughts on society. It shows there are always untold histories lying just beneath the surface, quite literally.