three New York City blocks and is drawn as a rectangle bounded by North American neighbors Canada and Mexico, with a thin brown strip along the Hudson representing "Jersey", the names of five cities (Los Angeles; Washington, D.C.; Las Vegas; Kansas City; and Chicago) and three states (Texas, Utah, and Nebraska) scattered among a few rocks for the United States beyond New Jersey, which is in bolder font than the rest of the country beyond the Hudson. Washington, D.C. is depicted as a remote location near Mexico. The Pacific Ocean, slightly wider than the Hudson, separates the United States from three flattened land masses labeled China, Japan and Russia. The image depicts the world with a back turned to Europe, which is absent from the painting. The work is composed in ink, pencil, colored pencil, and watercolor on paper and measures . When exhibiting this work along with alternate versions and sketches, the University of Pennsylvania summarized the work as a "bird's-eye view of the city from Ninth Avenue in a straight line westward, with space becoming ever more condensed..." They also described the work as a tongue-in-cheek view of the world. New York interpreted the New York-centric mind's view of the rest of the world as a set of outer boroughs as iconic. National Post journalist Robert Fulford described the perspective as one in which the entire world is a suburb of Manhattan. Parodies View of the World has been imitated without authorization in a variety of ways. The work has been imitated in postcard format by numerous municipalities, states and nations. Steinberg had stated that he could have retired on royalties from the many parodies made of the painting, had they been paid, a motivation for his eventual copyright lawsuit for the Moscow on the Hudson use. Fulford, writing in The National Post, noted that the metaphor of the world as a suburb of Manhattan was "understood and borrowed" by the whole world. Local artists, especially poster artists, presented similarly compelling depictions of their own provincial perceptions. Fulford demonstrated the prominence of this work by mentioning that a high school in suburban Ottawa made imitating View of the World an assignment in its graphic arts class. He also noted that the result of this assignment was a worldwide variety of global foci from which the students viewed the world. The illustration—humorously depicting New Yorkers' self-image of their place