So also in the car, the arts can make a car accessories, used cars only given a solid color, then developed using cutting sticker, but now the car has also been adorned with a picture of high art, created by the artists who poured his art results on Canvas a car.

The painting was created by using a technique called airbrush, airbrush is a small tool which operated air sprays various media, including ink and dye, but most often paint by a process of nebulization. Spray guns developed from the airbrush and are still regarded as a type of airbrush.

This technique allows for a mixture of two or more colors in subtle ways, with one color slowly becoming another color. Freehand airbrushed images, without the aid of stencils or friskets, have a floating quality, with softly defined edges between colors, and between foreground and background colors. A well skilled airbrush artist can produce paintings photographic realism or can simulate almost any painting medium. Painting at this level involves additional tools, such as masks and friskets, and planning very carefully.

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Born in Jakarta, Indonesia, in 1971, Mr. Ekel, who has never exhibited before in this country, lives in Amsterdam, where he belongs to an artists’ collective that includes the sculptor Folkert de Jong. Mr. Ekel is primarily a painter, producing colorful works on paper that mix media and techniques, including gouache, acrylic painting and drawing.

Each of the paintings being shown here is well crafted and attractively presented in the mezzanine gallery. While there is nothing especially innovative about the style — a loose expressionistic realism — the content gives you pause for thought, and the economical use of symbolic imagery gives the pictures raw visual force.

As a starting point for viewing the exhibition, I would encourage visitors to dip into the excellent, informative catalog. It helps explain the social, political and cultural underpinnings of the works. Mr. Ekel has a great deal to say about the world we live in, not much of it positive.

Take “The Dutchman Willem Oltmans as George Washington” (2008), a cartoonish painting of a middle-aged white man with blond hair dressed up as the first president. It is at a glance an innocuous-looking portrait, reminding you a little of an Andy Warhol screen print.

But this work has a political message. Reading about the painting in the exhibition catalog, we learn that Mr. Oltmans, who died in 2004, was a Dutch journalist with political connections to the Sukarno regime in Indonesia. In Mr. Ekel’s eyes, he was a powerful figure who helped change the destiny of a nation.

“Willem Oltmans” is one of the show’s few portraits. The artist mostly paints late-20th-century buildings and architectural interiors, conveyed with a minimum of detail and information. This makes them seem oddly simple but mysterious.

Several paintings here depict the Century 21 department store and the nearby Millennium Hilton hotel in Lower Manhattan. They were done in 2006, based on snapshots. They are impressionistic night scenes, denuded of people, capturing reflections and the play of light.

The paintings are linked to the terrorist attack on the World Trade Center, once located across the street from Century 21, for the memory of what happened on 9/11 continues to resonate in the stone and glass of surviving buildings nearby. Mr. Ekel’s blurry, weirdly depopulated night scenes are all about memory and loss.

On Friday afternoon a woman taking an adult education class at the museum accidentally fell into “The Actor,” causing the tear. Officials at the museum said that since the damage did not occur “in the focal point of the composition,” they expected that the repair would be “unobtrusive,” according to a statement released on Sunday.

The accident recalled another human-canvas run-in involving a Picasso. In 2006 the Las Vegas casino owner Stephen A. Wynn put his elbow through “Le Rêve” (“The Dream”), a 1932 Picasso of the artist’s mistress Marie-Thérèse Walter, leaving a sizable hole that has been so artfully repaired that the untutored eye would never know such a fate had befallen it.

But it is difficult to compare a 1932 Picasso with one painted in 1904-5. The early canvases are more delicate and the oil paint is thinner than the enamel-based kind the artist was known to have used later in his career. And then there is the question of whether there’s only one image involved.

“The Actor” was painted when Picasso was only 23. “He was very poor, and these canvases were expensive,” said John Richardson, the Picasso biographer. He explained that if Picasso made a mistake, he couldn’t afford to throw out the canvas, but rather painted over it. “Nearly all these early canvases have something painted underneath,” Mr. Richardson said.

He added: “There are few major paintings from this period and” — at 4 feet by 6 feet — “this is one of the biggest. It’s very important.” Dealers say a painting of this scale and period could be worth well over $100 million.

It’s an image — a tall, gaunt actor, dressed in a commedia dell’arte costume, leaning out across the footlights — that has often been puzzling to viewers, Mr. Richardson said, adding, “People seem to miss out on the fact that the actor is on a stage, which is unusual.” Also unusual is that the prompter’s hands are visible in the right-hand corner.

Whether those hands are now torn, nobody at the Met is saying. Nor are museum officials talking about how they plan to repair the painting. They did say that since the incident happened only on Friday, it will take time to decide the most prudent and effective treatment available.

David Bull, a Manhattan conservator, has not seen “The Actor” since its tear and therefore would not talk specifically about the painting, but he said there were all kinds of things that could be done nowadays. “We have many more choices of materials than we used to and many new approaches,” he said.

Mr. Bull and several other conservators who have not seen the tear say the next steps depend on many unanswered questions. For starters, is the canvas lined?

“In the 1950s, ’60s and ’70s there was a passion for lining, but now whenever possible we try to avoid lining because there is always a chance it could destroy the original canvas or make the surface seem dull or heavy,” Mr. Bull said. “If it’s not lined, it will be easier to repair.”

Some experts also wondered whether the canvas had a depression in it from the woman’s fall, and if the tear was straight or branched. And then there was the issue of whether there is a second painting underneath “The Actor” or on the reverse side. Recent research has revealed that Picasso took an old canvas with a landscape on it, the work of another artist, flipped it over and painted “The Actor.” (He also painted out the original image.)

Like a gifted plastic surgeon, a seasoned restorer has many options these days and a host of materials and instruments at his disposal, even acupuncture needles. They are not used as they would be in Asian medicine, to puncture a surface, or to sew a canvas, but rather are applied from behind to keep a tear flat.

Such needles were used to repair “Le Rêve,” said William Acquavella, the Manhattan dealer who was involved in an attempt to sell that painting on behalf of Mr. Wynn and who has shown “Le Rêve” at his gallery since it was torn. “It’s amazing what can be done these days,” he explained, adding that when they are finished restoring “The Actor,” the tear “will probably only look like a tiny pencil line. If that.”