The exterior of the broad 16.5-foot sedan is covered in a camouflaging flurry of opposing black and white diagonal slashes that resemble one of Jasper Johns’ radical “crosshatch” paintings from the mid-1970s. The cossetting interior, its narrow rampart-like band of windows mainly covered by this wallpaper, is dark and unfinished, and blanketed in a matted black felt that, notably, reminds me of a magician’s backdrop, meant to absorb light and disguise sleights of hand.
