President Trump speaks to service members at Marine Corps Air Station Miramar in San Diego on Tuesday. (Evan Vucci/AP)
Media critic

There’s a great deal to love in Barry Blitt’s cover — titled “Exposed” — for next week’s edition of the New Yorker. Notice, for starters, the size of certain extremities.

A story about the cover notes that Blitt, who also contributed a memorable 2014 drawing of Chris Christie “Playing in Traffic” on the George Washington Bridge, had submitted sketches related to the passing of Stephen Hawking and school shootings. In these days, though, when cable news cannot turn away from White House news with its interminable panels and steady expressions of shock at Beltway chaos, why can’t the New Yorker say way much more in a single piece of art?

“I wanted to address President Trump’s stormy relationship with the press,” said Blitt about the choice, referring, of course, to the progressing story about hush payments to adult film star Stormy Daniels (the stage name of Stephanie Clifford) to silence reporting on an alleged affair with Trump.

The depiction of Trump in his own leathers represents a victory of sorts for Blitt, if his rejected sketches are any guide. Last October, the magazine published several Blitt brainstorms that didn’t make the cut, and several show the real-estate mogul shirtless, not to mention leaner than in his “Exposed” incarnation.

There’s a wistful aspect to the cover as well. It appears to showcase the president in the midst of a full-on presidential press conference, a setting in which Trump hasn’t appeared since February 2017. Surely the White House press corps would be delighted for a repeat, regardless of the president’s state of dress.