Art in the Parks

The Buried Brook is an augmented reality (AR) application and sound walk that explores the historic course of Tibbetts Brook in Van Cortlandt Park. The experience is designed to be accessed through a mobile app, which takes users on a self-guided walking tour through the park and surrounding streets, guided by the app using a smartphone or tablet device. As viewers walk, they will be able to see virtual elements overlaid on the physical environment through their device's camera, creating an augmented reality experience.

This exhibition is presented by CALL / City as Living Laboratory.

This pair of tennis court murals at St. Mary’s Park, Bronx promotes the importance of public park courts and free youth tennis programs.

This exhibition is presented by Lacoste.

​This installation consists of a baseball bat and baseball doubling as functional benches and a symbolic representation of the game. This dual-purpose structure is designed to encourage visitors to pause, take a break, and reflect on the rich history and deep-rooted love for baseball.

This exhibition is presented by 161st Street Business Improvement District.

This vibrant temporary art installation brightens and beautifies Loreto Playground. Consisting of circular medallions that are individually designed to resemble flowers or are based on flowers, they were created using the handcraft technique of crochet. The crocheted medallions are multi-colored and densely worked, thereby creating an explosion of color which will be seen from a long distance.

This exhibition is presented by Morris Park Business Improvement District.

Lenticular Histories is based on the Praxinoscope and Zoetrope, 19th century devices of wonder that transform still photographs into moving images. Two seven-foot-tall rainbow-colored, luminous sculptures in the form of “eternal remembrance columns” are placed at the corner of Highland Boulevard and Jamaica Avenue in Lower Highland Park. The surface of the sculptures host colorful plexiglass panels and reflective mirrors adorned with historic photographs of Highland Park and the surrounding neighborhood. The photographs are interrupted by mirror panels that, when viewed from a distance, reflect back the park’s landscape and engage the viewer in an interactive moment of immersive optical intrigue and history.

This exhibition is the recipient of the Art in the Parks: Highland Park Art Grant.

In Beacon, a profile of a child’s face represents the flame of a candle. The base of the sculpture forms the stylized candle, and the face rises from it, driving out the darkness with their light, serving as a guiding beacon through life’s troubles. Though made of bronze, a hard material, the sculpture is designed to form a light, wispy profile. It is inspired by the Dr. Martin Luther King Jr. quote, which would be on a plaque accompanying the sculpture: “Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.”

Van der Stokker presents Thank You Darling, a monumental, site-specific mural. The light blue background is dotted with multi-colored, simple flowers in a decorative all-over pattern that appear to float across the facade. Superimposed over this, read the words “THANK YOU DARLiNG,” spelled out in a juvenile, arbitrary blend of lower and upper-case lettering. Van der Stokker’s puffy bubble-letters are a classic example of playful adolescent penmanship, seemingly lifted right out of a teenager’s diary. Thank You Darling actively engages with its audience, expressing gratitude to all those who pass, while reclaiming, at massive scale, intimate language that is often mocked or disparaged as being feminine and unserious.

This exhibition is presented by Friends of the High Line.

Davis creates a larger-than-life bronze portrait of a ballerina taking her final bow after a performance. Using a combination of 3D scanning technology and traditional sculpting techniques, the bronze figure was derived from Davis’ life-size plaster cast sculpture of ballerina Jasmine Perry. Curtain Call draws on the artist’s experience growing up on stage and behind the scenes of the dance and theater world, seeing firsthand the incredible mental and physical toll taken to create a flawless performance. The work is part of a new series, Beauty Must Suffer, which examines the life and labor of Black dancers in the historically European tradition of ballet.

This exhibition is presented by Friends of the High Line.

Analogue Sites, by artist and preservation architect Jorge Otero-Pailos, is a public art exhibition that explores the intersection of art, architecture, and cultural diplomacy. Comprising three monumental steel sculptures wrought from fencing that surrounded the former U.S. Embassy in Oslo and inspired by the historical significance of Cold War-era embassies as places of cultural exchange, Analogue Sites highlights the role of American modern art and architecture in cultural diplomacy and advocates for the preservation of these modernist masterpieces at this critical moment of their decommissioning. Analogue Sites responds to and engage with iconic modernist landmarks including the Seagram Building, the Lever House, and the historic Park Avenue Armory.

This exhibition is presented by The Fund for Park Avenue, the Onera Foundation, the Queen Sofia Spanish Institute, the AECID, and the Consulate General of Spain in New York.

“Sankofa” derives from Akan African folklore, symbolizing remembrance of things forgotten, and “in order to know our future we must look to our past.” The installation is simultaneously futuristic and ancestral, and draws upon intersectional cultures including African, Afro-Caribbean and Indigenous craft traditions as well as the everyday histories and contemporary life of the park.

The design concept for the pavilion comes out of working in community with members of the Marcus Garvey Park. The 32-foot circular structure incorporates a gathering space below a printed fabric mesh canopy depicting both archival images and AI generated “mythology” of Marcus Garvey Park and other motifs.

This exhibition is sponsored by Harlem Grown's Culture Creativity & Care Initiative.

​Five sculptures made of recycled industrial tires, each of which is carved and painted with gold and silver, serve as memorials for those migrants who deserve to be remembered with respect and dignity. The pre-Hispanic iconography honors an ancestral culture and rich civilization that still has much to offer today. Tractor tires act as reminders of the laborers from the south who work the land; public transport tires that simultaneously hold memory of so many hopes and griefs. These tires are a metaphor of cycles traveled. Through this exhibition, the artist aims to dignify the contribution of millions of migrants who are not only laborers who were forced to leave their homes, but also humans who carry personal and cultural baggage that enriches the places they reach.

This exhibition is supported by Fundación Andrade, the Jacques and Natasha Gelman Foundation, Evelyn and Dick Belger, Kansas City and the Nelson-Atkins Museum of Art, Kansas City. Additional support provided by Ciinova, PPG Comex, Secretaría de Relaciones Exteriores de Mexico, and Maestro Dobel Tequila.

This exhibition is presented by The Sculpture Committee of The Fund of Park Avenue.

This exhibition showcases a 65-panel crocheted mural featuring the diverse people and occupations that comprise this Harlem neighborhood as well as highlighting the natural beauty of the flowers, water fauna and sea creatures in our East River waterway.

This exhibition is presented by Friends of the East River Esplanade and Memorial Sloan Kettering.

The concept for this artwork is a colorful background representing the human impact on the environment with superimposed silhouettes of the absence of animals. This mural was part of Korea Art Forum’s 2023 Shared Dialogue Shared Space program, with a theme of an Alternative Manhattan Project, which brings together artists who will be presenting their community-oriented and thought-provoking works of participatory art to engage the community in conversations on peacebuilding. The artists imagine an alternative history, inquiring what if peace-building efforts in the early 1940s were carried out through art and human interactions instead of the development of weapons of mass destruction.

This exhibition is presented by Korea Art Forum.

This piece depicts the legend of the alligator in the NYC sewers. It deals with two interesting aspects of our world; our need for gods, myths, and legends much like any other civilization prior to ours, and our habit of creating invasive species by moving animals from their natural habitats to human environments.

This exhibition is presented by Union Square Partnership and Mollbrinks Gallery.

For the third High Line Plinth commission, Pamela Rosenkranz presents Old Tree, a bright red-and-pink sculpture that animates myriad historical archetypes wherein the tree of life connects heaven and earth. The tree’s sanguine color resembles the branching systems of human organs, blood vessels, and tissue, inviting viewers to consider the indivisible connection between human and plant life. Old Tree evokes metaphors for the ancient wisdom of human evolution as well as a future in which the synthetic has become nature. On the High Line—a contemporary urban park built on a relic of industry—Old Tree raises questions about what is truly “artificial” or “natural” in our world. Made of man-made materials and standing at a height of 25 feet atop the Plinth, it provides a social space, creating shade while casting an ever-changing, luminous aura amid New York’s changing seasons.

This exhibition is presented by the Friends of the High Line.

For the High Line, Kiwanga presents On Growth, a sculpture of a fern encased in glass. The multi-faceted case is constructed from dichroic glass, which captures and transforms the light that passes through it, changing tone and color as it’s viewed from different vantage points. The work references Wardian cases, a predecessor of the terrarium, which were used to transport uprooted plants to Europe from overseas, allowing those species to continue to thrive amid London’s polluted air in the late 19th century. These enclosures resembled jewelry cases at the time and, similarly, often protected treasures from distant lands. On Growth draws on the colonial histories of institutional and commercial botanic nurseries that heavily influenced the scientific understanding of plants and horticulture of today.

This exhibition is presented by Friends of the High Line.

City Ecology gives shape and texture to the colorful stories, dynamic relationships, and complex patterns of connection that she observes within New York City and amongst its residents. Sui Park constructs the sculptures out of cable ties, an inexpensive and mass-produced industrial material, which she weaves together into seemingly organic, biomorphic bodies. Installed in clusters in Bella Abzug Park, these groupings are reflective of the countless communities and hubs of activity that define urban life and lend New York City in particular its resilience and beauty.

This exhibition is presented by the Hudson Yards Hells Kitchen Alliance.

Appearances operates with the goal of bringing awareness to the majesty and fragility of our environment. The concept first began as a public art installation in Provincetown, Massachusetts, open to any form of art that made a connection to nature. As demonstrated by the success of the Provincetown model of Appearances, this experience is an educational and visually stimulating opportunity for New York citizens and visitors. Appearances provides a platform for art that brings people physically into nature and/or in proximity to sites of historical significance.

Artists featured in this exhibition include Elizabeth Akamatsu, Katharina Chichester, M.J. Levy Dickson, Rosy Keyser, Dorothy Palanza, Billy Sherry, and Wolf.

This newly commissioned public art exhibition by Rose B. Simpson is on view simultaneously in Madison Square Park and Inwood Hill Park. In Madison Square Park, seven eighteen-foot-high sentinels convene in a circle supporting and nurturing a female form who emerges from the earth. In Inwood Hill Park, one sculpture faces the ancient wood in acknowledgment of Native histories deeply connected to the land; the other looks outward to the Hudson River, part of a trade route that brought settlers who worked to obliterate Native people and practices beginning in the 1600s. The figures in Seed are in the present while anticipating the future from bronze masks patinated in turquoise. The faces looking in are youth; those gazing outward are protectors. They all summon layers of narratives, personal and collective human experiences that have seeded Simpson’s life and art.

This exhibition is presented by the Madison Square Park Conservancy.

Von Bonin brings her ongoing work WHAT IF THEY BARK? (2022) to the High Line, installing a group of anthropomorphic fish sculptures above the park’s iconic 10th Avenue Square. Assembled like a military band ensemble, the fish wear theatrical costumes, play musical instruments, and hold checkered missiles. This humorous composition recalls the statue arrangement of ancient Greek temples, but instead of gods and heroes here the artist places sea creatures on land interacting with one another and doing human activities such as playing music. The figures adorn the top of the railing of the Sunken Overlook as if playing a concert for visitors resting on the seating steps below, adding a playful element to the striking view up 10th Avenue.

This exhibition is presented by Friends of the High Line.

This court artwork is inspired by contrast, celebrating a space that brings people together through a shared passion.

This exhibition is presented by Les Deux, Kongstad Studio, and Project Backboard.

Joined an Avalanche, Never to be Alone Again examines how humans have accelerated a global environmental crisis, collapsing starkly different time scales projecting an imminent future while unearthing centuries of geological cycles. Harvesting materials from the city’s infrastructure, Irijalba manifests a sprawling geotechnical core sample sculpture and salvaged fencing from the FDR Drive. An additional artwork, a 1:1 scale low-tide wave made of 100% recycled asphalt, was also on view as part of this exhibition from October 4, 2023 to November 15, 2023.

This exhibition is presented by NYC Department of Design and Construction (DDC) and NYC Department of Cultural Affairs (DCLA) as part of DCLA’s Public Artists in Residence (PAIR) Program.

A sculptor and digital artist, Kahn utilizes technology—in its successes and failures—to analyze the complexity and poetics of capturing the human body in the digital age. Working from a 3D scan of musician and artist tiger west, Portrait of t. brings the digital, private realm into the public through a glitched body scan cast in bronze. In conversation with the veteran and war monuments already extant at Riverside Park, Kahn highlights the importance of celebrating anonymous lives in the public sphere.

The Works in Public (WiP) program, formerly known as Model to Monument, is a professional development program that was begun in 2010 in partnership with NYC Parks’ Art in the Parks program.

This exhibition is presented by the Art Students League of New York and the Riverside Park Conservancy.

Palli uses material to question his daily processes and how they engage with his identity. Expanding beyond the personal, Palli’s sculpture presents an opportunity for audiences to engage with the narratives of local versus foreign and the sense of belonging within the United States. Our Gates is a celebration of New York City and its diverse communities, utilizing interlocking arches to both welcome visitors into the community and to encourage them to pass through into a symbolic space of participation, experimentation, and intrepid opportunity.

The Works in Public (WiP) program, formerly known as Model to Monument, is a professional development program that was begun in 2010 in partnership with NYC Parks’ Art in the Parks program.

This exhibition is presented by the Art Students League of New York and the Riverside Park Conservancy.

Eversley’s magenta-tinted cast polyurethane work offers visitors a captivating experience of perceiving the surrounding environment, others, and themselves through the artist’s “lens”. Simultaneously reflective and transparent, the luminescent parabolic form—a tapered cylinder—serves as a focal point of serenity, transcendence, and the exploration of new dimensions and perspectives. Eversley’s presentation represents not only his first public sculpture in New York, but also the first outdoor placement of the artist’s large-scale polyurethane resin works.

This exhibition is presented by Public Art Fund.

Undercurrent, a massive steel sculpture by celebrated Chinese artist Zheng Lu was created especially for this site and relates to the United Nations recent climate action initiatives. Zheng’s deep reverence for nature is often reflected in his work. Part of his acclaimed Water in Dripping series, Undercurrent emphasizes the significance of water as a medium symbolic of change, self-reflection and the passage of time, as well as a symbol of temperate planet earth, where the presence of water—a rapidly diminishing resource—permits life.

This exhibition is presented by Sundaram Tagore Gallery.

This mural was created by Summer Youth Employment Program participants with lead artists Joel Bergner and Angela F Zirbes. The design begins on the left with an image representing the feeling of being silenced and marginalized in society. Coming out of this image is a hand being greeted by a second hand, alluding to the importance of community and family support and having a network of support. Further to the right, diverse young people have headphones on, which are connected to each other in a visual representation of the importance of tolerance and inclusion. At the far right, two hands are giving a fist bump to illustrate friendship and comradery, a statement of positive connection, with the community of Washington Heights in the background.

This exhibition is presented by the NewYork-Presbyterian Hospital/Choosing Healthy & Active Lifestyles for Kids (CHALK), Artolution, and Community League of the Heights (CLOTH).

The CITYarts Our Voices mural is infused with the rich musical tradition and diverse culture of West Harlem. The borders contain personalized details by youth participants — small squares that tell the world about their identities, wishes, and dreams. The first half of the mural was painted in August 2022 and was completed by a second group of students in August 2023.

This exhibition is presented by CITYarts.

​Setting the Stage for Climate Change is made almost entirely of repurposed materials including the interior structure and platform that are constructed from repurposed wood cut from pickle barrels. The visible surfaces feature plastic laundry bottles, single use plastics, and detritus that are melted and joined, suggesting mitigations to the climate crisis by preserving forests, reducing plastic consumption, and repurposing materials in unexpected ways. Setting the Stage for Climate Change on its own is a free-standing sculpture. By siting it on the elevated terrace surrounded by stone walls and staircases, it becomes a backdrop for an amphitheater encouraging others to perform and activate the space.

This exhibition is presented by Art Lives Here and Friends of Morningside Park, made possible in part with funding from the Lower Manhattan Cultural Council.

The Kongo Cosmogram depicts the interaction between two worlds; the visible and the invisible, or the physical and the spiritual. Nari Ward is known for his sculptural installations composed of discarded material found and collected in his neighborhood. Ward re-contextualizes these found objects in thought provoking juxtapositions that create complex, metaphorical meanings to confront social and political issues surrounding race, poverty, and consumer culture. He intentionally leaves the meaning of his work open, allowing the viewer to provide his or her own interpretation.

This exhibition is presented by Project Backboard.

This series of eight stainless steel medallions honors Bloomingdale neighborhood residents who have shaped our world, including John Coltrane, musician; Elizabeth Acevedo, poet; Mario Bauza, musician; Constance Baker Motley, judge; Jose Feliciano, musician; Isamu Noguchi, artist; Abbey Lincoln, vocalist; Billy Strayhorn, composer. Over the course of a year, the exhibition will rotate between three neighborhood parks: Booker T. Washington Playground (July 15, 2023 to November 9, 2023), Happy Warrior Playground (November 10, 2023 to March 14, 2024), and Frederick Douglass Playground (March 15, 2024 to July 11, 2024).

This exhibition is presented by El Taller Latino Americano and the Columbus Amsterdam BID.

Designed by Project Backboard, this basketball court mural includes an abstract depiction of shooting stars.

This exhibition is presented by Project Backboard.

After collecting and reviewing 56 proposals from 49 international artists nominated by an international advisory committee, High Line Art has shortlisted 12 proposals for further consideration for the fifth and sixth High Line Plinth commissions. The selected proposals will be on view as sculptural maquettes on the High Line for visitors to view and send feedback on what they would like to see realized.

This exhibition is presented by The High Line.

This mural was painted by Publicolor, a youth development program that fights poverty by aggressively addressing the alarming dropout rate and low levels of educational attainment and youth employment in New York City. The program engages high-risk, low-income students, ages 12-24, in a multi-year continuum of design-based programs to encourage academic achievement, college preparation, job readiness, and community service.

Andrew Kuo is a NYC-based artist known for his data-informed abstractions. Covering one full and two half basketball courts, this mural is a flattened rendering of bodega flowers that the artist photographed at Rivington and Orchard Streets. The dots scattered across the mural are locations on the court that create a very loose idea of a “map” of the Lower East Side.

This exhibition is presented by Project Backboard.

This mural reimagines CITYarts’ Alice on the Wall mural, originally painted at this site in 2002. While the images are new, the new mural retains the theme of Alice in Wonderland on an adventure through the sights and sounds of New York City. The mural was designed and painted by students from Stuyvesant High School’s StuyCanvas program.

This exhibition is presented by the CITYarts.

This lenticular print alternately displays two photographs of 157th Street and Broadway, one archival and one contemporary. Pedestrians activate the alternating effect as they walk by, causing the image to flip between centuries. The archival image from 1909 is used with permission from the Museum of the City of New York. The contemporary image is a photograph taken by Adrian Sas in 2023.

To create Painful Arc II (Shoulder-High), Khan interviewed High Line staff members and photographed the numerous shipping boxes of supplies that circulate within the complex ecosystem of the park. Khan’s inscriptions on the archway include packaging labels and handwritten notes jotted down by staff members onto incoming cardboard boxes. This reimagined public monument paints a portrait of the park and the people who maintain it every day, as well as the people far away who manufacture the goods shipped to our door. While historically archways have been inscribed with the names and symbols of nobles and leaders, this archway is a monument to the ecosystem of labor and people around the world who make the High Line possible.

This exhibition is presented by Friends of the High Line.

Slave Market is an augmented reality installation that presents the 1711 slave market in New York City, where enslaved African Americans and Native Americans were sold or hired. Accessible through a QR code on a sign posted at the site, the artwork presents a representation of the structure of the market and the interior space crowded with enslaved peoples. This installation is a part of a larger decentralized memorial called Slavery Trails, which consists of interactive augmented reality exhibits throughout the United States.

Craig’s closet is a newly created artwork by Jim Hodges for the New York City AIDS Memorial's ongoing public art program. This sculpture was imagined explicitly for the New York City AIDS Memorial Park, which lies in the shadow of the former St. Vincent’s hospital and in proximity to many sites central to the HIV/AIDS epidemic. This replica of a domestic bedroom closet, in granite and painted bronze, invites viewers to forge personal connections between complex histories and individual and collective memories.

This exhibition is presented by the NYC AIDS Memorial.

Susan Markowitz Meredith’s LIFE DANCE features three intertwining three-dimensional forms, representing the concept of mutual arising. Drawing inspiration from intertwining spiral forms found in nature, the three central shoots rise from a common source and engage with each other. Each shoot carries a progression of transparent step-like forms that serve as metaphors for an intangible growth process–suggesting that individual experiences are not isolated, and that society grows and flourishes by embracing our differences and recognizing our interconnections.

The Works in Public (WiP) program, formerly known as Model to Monument, is a professional development program that was begun in 2010 in partnership with NYC Parks’ Art in the Parks program.

This exhibition is presented by the Art Students League of New York and the Riverside Park Conservancy.

Working across media, Helen Draves explores the passage of time and its physical and metaphorical impact on memory. In this sculpture, Draves continues these themes in an empathetic reflection on the Covid-19 pandemic. Inspired by a childhood memory of folding paper cranes, which have long been recognized as symbols of hope and healing, Draves created a collection of ceramic birds that when arranged together form the shape of a medical mask. The sculpture also includes medical masks cast in resin, which are transcribed with open-sourced messages intended to express the hope, loss, and memories of those affected by the pandemic, to serve as a reminder of the power of art to facilitate healing, foster connections, and inspire hope.

The Works in Public (WiP) program, formerly known as Model to Monument, is a professional development program that was begun in 2010 in partnership with NYC Parks’ Art in the Parks program.

This exhibition is presented by the Art Students League of New York and the Riverside Park Conservancy.

Rethinking culture and art history, the relationship between humans, land, and the myth of universal operations has been imminently transformed into a chaotic hymn or hysterical tone. These 14 Taiwanese heritage artists have been chosen as addressing preservation of multiple cultures, renewal of the environment, and honoring the new multi-faceted unity. Potential political, economic, and cultural crises can be averted only by an emphasis on the diversity of life that promotes interactive relationships. Their work is presented over a series of 28 vinyl banners.

This exhibition is presented by El Taller Latino Americano and the Taiwanese American Arts Council (TAAC).

The work is the result of numerous observations, including Leonardo da Vinci’s nature drawings, Biblical passages about the wind as a transmitter of forces, and representations of natural phenomena in art history. Above all, the artwork is the result of Chaile’s observations of pre-Columbian archeological ceramics from northwest Argentina, gathered in a small museum in Tucumán. Combining these inspirations, Chaile conceived of an artwork for New York City and the High Line. Wanting to avoid competition with the surrounding skyscrapers and extreme weather found on the High Line, Chaile intends for his sculpture to come to life through its interactions with surrounding natural forces: wind, rain, snow, and vegetation, which will create music when in contact with the sculpture. The artwork is a sculpture-manifesto, one that plays with the wind’s memory as a transmitter of poetry.

This exhibition is presented by Friends of the High Line.

Pedestrian Observations: Mapping Manhattan Chinatown’s Public Realm is a collaboration by artist and architectural historian Myles Zhang and architect/designer Stephan Fan. This project explores the blurred boundaries between Chinatown’s public and private spaces in a graphic installation formulated and executed through various community-engagement efforts over the past two years. It is a horizontal map that presents iconic elements of Chinatown’s streetscapes. The streetscape draws familiar, if not legendary, scenes woven together in segments to suggest the many layers of human activation and experience of these vibrant congested historic streets.

This exhibition is presented by CALL / City as Living Laboratory.

Flushing Meadows Corona Park lacks a true contemporary art homage to the legendary Tent of Tomorrow, which will now itself be lit at night for the city's new program. The Tent of Tomorrow was designed by Philip Johnson for the 1964 World's Fair, however it is modeled off its Russian predecessors, namely the Shukhov Rotuna for the All-Russia Exhibition of 1896. Light Portal incorporates several elements of the original physical structure in a new design, with the many colors of the light disc above audiences to represent the diversity of languages and cultures in Queens. During our current period of closed borders around the world due to politics, it is important to remember periods of greater international exchange of ideas, and collaboration. Light Portal envisions hope, progress, and growth, creating a meditative and playful space. The work casts a kaleidoscope of healing colors onto viewers and the ground below during the day and is lit by solar-powered LED lights at night.

This exhibition is made possible by the Art in the Parks: Alliance for Flushing Meadows Corona Park Grant, which supports the creation of site-specific public artworks by Queens-based artists for two sites within Flushing Meadows Corona Park.

This series of murals depicts various landmark areas of Forest Park, including Oakridge, The Overlook, the Carousel, the Nursery, the Golf Course, the Bandshell, Strack Pond, the Buddy monument, and the Pine Groves, as well as the natural beauty of the trails including the bridle path. The goal of the mural is to promote all the different amenities in the park and draw visitors to areas of the park that they may not frequent.

This exhibition is presented by the Forest Park Trust.

This mural is meant to invoke smiles, gentleness, and happiness. The hummingbird welcomes children to play and invites families into a public conversation on community and how we use public spaces. The bees and butterflies weaving through the flowers remind us of the vital task of caring for one another. For Project Attica, creating this mural was an act of increasing our sensibility to the interconnectedness of nature and the role that we play in caring for that balance amongst ourselves.

This exhibition is presented by Project Attica.

Hey Neighbor NYC connects New Yorkers across cultural communities and boroughs using photographic portrait-making, conversations, and public art. New Yorkers from all five boroughs were nominated by cultural hubs in their communities because they are a ‘connector’ – someone who brings people together through organizing, advocacy or fellowship.

This exhibition is made possible by the Art in the Parks: Alliance for Flushing Meadows Corona Park Grant, which supports the creation of site-specific public artworks by Queens-based artists for two sites within Flushing Meadows Corona Park.

This sculpture is based on origami studies and is composed of broken steel planes that cause the sculpture to change and come to life with sunlight. It reflects in an abstract way the fractal system of matter, looking for a simplicity that reflects the interior of every being. It is a work inspired in the study of the nature, in particular of a shell: the volume is reduced to its fractal structure, to it geometry.

This mural by Queens-based artist Carla E. Reyes transforms a retaining wall into a sunny landscape lined with leafy trees.

​Led by artist Lady Pink, this mural was designed and painted by students from the Frank Sinatra School of the Arts. The mural depicts faux storefronts with various images taking imaginative and fanciful shapes, painted in a kaleidoscope of vibrant colors. The mural can be found on the back wall of the DOT Steinway #2 Municipal Parking Lot, which is the reverse side of the back wall of Sean’s Place.

This exhibition is presented by the Steinway Astoria Partnership, sponsored by the Martin Wong Foundation.

Since 2021, community members, neighbors, kids, parents, grandparents, artists, musicians, seed finders, cooks, gardeners, farmers, bird watchers, writers, poets, thinkers, finders, seekers, and explorers have gathered at Socrates to intentionally build a body of knowledge together as part of the Field Guide program. Teaching artist Aneesa Razek has gathered and woven together a constellation of drawings and observations from Field Guide participants.

This exhibition is presented by Socrates Sculpture Park.

We Are Beautiful represents diversity, celebrates multiculturalism in New York City, especially on Staten Island. It consisted of 4,950 multicolor butterflies attached to the metallic railing by the water at Stapleton Waterfront Park. This installation is part of La Isla Bonita Series and Festival, which intends to beautify public spaces with the collaboration of community members.

This exhibition is presented by La Isla Bonita.