When Ben Brantley first heard about Deborah Warner’s “Angel Project,” a “theatre” piece that sends participants on a tour of Manhattan, it it sounded, he writes, “more like my idea of hell than heaven.” But “as the aesthetic philosophers of the early 20th century liked to point out, if you put a frame around anything it becomes art. Everyday objects begin to vibrate mysteriously. The mundane acquires instant drama; you start to see poetic patterns in flat surfaces. The immodest goal of Ms. Warner — the British director responsible for last spring’s brilliant and brutal “Medea” on Broadway — is to condition you to see all of New York in such terms.” So was it hell?