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Capricho No. 2, 2023. Acrylics on unstretched canvas with grommets - banner format. 33.5” X 70”. Though this is a piece from my magic realist “Capricho” series, it doubles as an idea for a mural, the reason it is included in this section.
Imaginary Mural: Leda and the Swan, 2022. Gold leaf and oil pastels. 30” X 22.5”.
Proposal for a mosaic tile mural for the 23rd Street station of the “N” and “R” line in the New York Subway system (in the toy district), 2000. Watercolor.
Detail of a proposal for a mosaic tile mural for the 23rd Street station of the “N” and “R” line in the New York Subway system (in the toy district), 2000. Watercolor.
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New York City Bar Association Mural ( detail, dome) , 1983. Keim paints on plaster. Designed by Richard Haas.
New York City Bar Association Mural (vaulted ceiling looking toward 44th Street), 1983. Keim paints on plaster. Designed by Richard Haas.
New York City Bar Association Mural ( vaulted ceiling looking toward 44th Street, daytime ) , 1983. Keim paints on plaster. Designed by Richard Haas.
New York City Bar Association Mural (detail, lunette over entrance to lobby, flanked by painted niches), 1983. Keim paints on plaster. Designed by Richard Haas.
New York City Bar Association Mural (detail, allegorical figure of Justice, executed entirely by Ray Guzman), 1983. Keim paints on plaster. Designed by Richard Haas.
New York City Bar Association Mural (detail, illusionistic niche containing the bust of Alexander Hamilton), 1983. Keim paints on plaster. Designed by Richard Haas.
New York City Bar Association Mural ( detail, illusionistic niche containing the bust of Aaron Burr, humorously facing off against Hamilton, opposite, whom he slew in a duel) , 1983. Keim paints on plaster. Designed by Richard Haas.
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New York City Bar Association Mural (detail, illusionistic niche containing the bust of Grover Cleveland) , 1983. Keim paints on plaster. Designed by Richard Haas.
New York City Bar Association Mural (detail, illusionistic niche containing the bust of Martin Van Buren), 1983. Keim paints on plaster. Designed by Richard Haas.
New York City Bar Association Mural (detail, view of the apex of the vault, with the scales of justice and the god Janus), 1983. Keim paints on plaster. Designed by Richard Haas.
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Universal Folding Box Mural, 1983. Exterior latex paints on cinderblock. Designed and executed in partnership with artist Sarah Haviland.
Manuel Alejandro Macarrulla and Sarah Haviland executing their Universal Folding Box mural, 1983. PHOTO: John Mann.
The row of five murals along the exterior wall of the Universal Folding Box building. Due to the passage of time, I don’’t recall the names of most of the artists involved in this project, except for the 3rd (brown stone facades), which was painted
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Pathfinder Mural, 1989. Designed by Mike Alewitz. Manuel Alejandro Macarrulla was one of many artists to participate in its execution, providing the portrait of Dominican political figure Francisco Caamaño (small figure in the lower right.)
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The Family, Inside and Out, 1992. Collage mural on plywood. 48” X 192”. Designed by the artist and executed in collaboration with, and the assistance of homeless adults enrolled in The Goddard-Riverside Community Center’s day program for indiv
The Family, Inside and Out (detail-left half) , 1992. Collage mural on plywood. 48” X 192”. Designed by the artist and executed in collaboration with, and the assistance of homeless adults enrolled in The Goddard-Riverside Community Center’
The Family, Inside and Out (detail-right half) , 1992. Collage mural on plywood. 48” X 192”. Designed by the artist and executed in collaboration with, and the assistance of homeless adults enrolled in The Goddard-Riverside Community Center

Capricho No. 2, 2023.
Acrylics on unstretched canvas with grommets - banner format.
33.5” X 70”.

Though this is a piece from my magic realist “Capricho” series, it doubles as an idea for a mural, the reason it is included in this section.

Imaginary Mural: Leda and the Swan, 2022.
Gold leaf and oil pastels. 30” X 22.5”.

Proposal for a mosaic tile mural for the 23rd Street station of the “N” and “R” line in the New York Subway system (in the toy district), 2000. Watercolor.

Detail of a proposal for a mosaic tile mural for the 23rd Street station of the “N” and “R” line in the New York Subway system (in the toy district), 2000. Watercolor.

New York City Bar Association Mural (detail, dome), 1983.
Keim paints on plaster. Designed by Richard Haas.

New York City Bar Association Mural (vaulted ceiling looking toward 44th Street), 1983. Keim paints on plaster. Designed by Richard Haas.

New York City Bar Association Mural (vaulted ceiling looking toward 44th Street, daytime), 1983. Keim paints on plaster. Designed by Richard Haas.

New York City Bar Association Mural (detail, lunette over entrance to lobby, flanked by painted niches), 1983. Keim paints on plaster. Designed by Richard Haas.

New York City Bar Association Mural (detail, allegorical figure of Justice, executed entirely by Ray Guzman), 1983. Keim paints on plaster. Designed by Richard Haas.

New York City Bar Association Mural (detail, illusionistic niche containing the bust of Alexander Hamilton), 1983. Keim paints on plaster. Designed by Richard Haas.

New York City Bar Association Mural (detail, illusionistic niche containing the bust of Aaron Burr, humorously facing off against Hamilton, opposite, whom he slew in a duel), 1983. Keim paints on plaster. Designed by Richard Haas.

New York City Bar Association Mural (detail, illusionistic niche containing the bust of Grover Cleveland), 1983. Keim paints on plaster. Designed by Richard Haas.

New York City Bar Association Mural (detail, illusionistic niche containing the bust of Martin Van Buren), 1983. Keim paints on plaster. Designed by Richard Haas.

New York City Bar Association Mural (detail, view of the apex of the vault, with the scales of justice and the god Janus), 1983. Keim paints on plaster. Designed by Richard Haas.

Universal Folding Box Mural, 1983.
Exterior latex paints on cinderblock. Designed and executed in partnership with artist Sarah Haviland.

Manuel Alejandro Macarrulla and Sarah Haviland executing their Universal Folding Box mural, 1983. PHOTO: John Mann.

The row of five murals along the exterior wall of the Universal Folding Box building. Due to the passage of time, I don’’t recall the names of most of the artists involved in this project, except for the 3rd (brown stone facades), which was painted by artist Kit Sailer.

Pathfinder Mural, 1989.
Designed by Mike Alewitz. Manuel Alejandro Macarrulla was one of many artists to participate in its execution, providing the portrait of Dominican political figure Francisco Caamaño (small figure in the lower right.)

The Family, Inside and Out, 1992. Collage mural on plywood. 48” X 192”.

Designed by the artist and executed in collaboration with, and the assistance of homeless adults enrolled in The Goddard-Riverside Community Center’s day program for individuals suffering from mental illness, Project Reachout/The Other Place. My way of working with the program participants was to allow them to claim certain areas of the design, then to allow them to interpret, without correction.

The Family, Inside and Out (detail-left half), 1992. Collage mural on plywood. 48” X 192”.

Designed by the artist and executed in collaboration with, and the assistance of homeless adults enrolled in The Goddard-Riverside Community Center’s day program for individuals suffering from mental illness, Project Reachout/The Other Place. My way of working with the program participants was to allow them to claim certain areas of the design, then to allow them to interpret, without correction.

The Family, Inside and Out (detail-right half), 1992. Collage mural on plywood. 48” X 192”.

Designed by the artist and executed in collaboration with, and the assistance of homeless adults enrolled in The Goddard-Riverside Community Center’s day program for individuals suffering from mental illness, Project Reachout/The Other Place. My way of working with the program participants was to allow them to claim certain areas of the design, then to allow them to interpret, without correction.

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