A decade after his death, Martin Wong's work is on view in a solo show at P.P.O.W., including Court Room Shocker: Jimmy the Weasil Sings Like a Canary (1981, acrylic on canvas), in which gang signs are configured as mudras (Sanskrit word for “signs”), the ancient symbolic hand gestures used in Hindu and Buddhist practice and art. Key figure in the Lower East Side of the 1980s, Wong's paintings are perhaps most closely associated with the grapheme of tenement New York, the brick, which, like a latter-day Jacob Riis, he repetitively committed to pictorial form.  Wong's interest in the reconciliation of the street and the gallery also took form in his amassment of possibly the largest collection of graffiti-styled art,  later donated to the Museum of the City of New York.