Art in the Parks

Through collaborations with a diverse group of arts organizations and artists, Parks bringsto the public both experimental and traditional art in many park locations. Please browse ourlist of current exhibits below, explore our archives of past exhibits or readmore about the Art in the Parks Program.

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Image credit: courtesy of NYC Parks

Tony Cragg, Monumental Sculptures
May 30, 2018 to October 31, 2018
52nd Street, 57th Street, 67th Street, 72nd Street, and 79th Street
Park Avenue Malls, Manhattan
Map/Directions (in Google Maps)

Please note: This is a past exhibit that is no longer installed in the park.

Installed at five sites on the Park Avenue Malls between East 52nd Street and East 79th Street, these five monumental, abstract sculptures present an opportunity for a leisurely stroll over near 20 blocks on this storied thoroughfare. The commanding sculptures exemplify Cragg’s experimentation with materials like fiberglass, stainless steel and bronze. Mean Average, at 52nd Street, is a weighty composition made of bronze, while Elliptical Column at 57th Street is a nearly 20-foot tall spire made of shiny, almost liquid-like stainless steel. The white and cream fiberglass used for Runner and Hammerhead at 67th and 72nd Streets, respectively, make these sculptures pop against the surrounding urban landscape. At 79th Street, Cragg uses bronze again for Tommy, which has a blue-green patina. The vertical forms seemingly defy gravity while giving the impression of upward motion and kinetic energy, though they are static.

This exhibition is presented with the Fund for Park Avenue  and Marian Goodman Gallery.

Juan Soriano, Bronze Dove, Photo Courtesy of NYC Parks

Juan Soriano, Juan Soriano in New York City: Monumental Sculpture at Dag Hammarskjold Plaza
October 28, 2014 to April 26, 2015
Dag Hammarskjold Plaza, Manhattan
Map/Directions (in Google Maps)

Please note: This is a past exhibit that is no longer installed in the park.


Three of Juan Soriano’s sculptures are now in New York City: Pájaro III (Bird III), Pájaro de Dos Caras (Bird with Two Faces), and Paloma de Bronce (Bronze Dove). Soriano, a deeply committed Mexican artist from an early age, was an independent voice during the years that the murals of Rivera, Siqueiros and Orozco dominated Mexican art. Putting distance between his art and theirs, he created an individual vision in painting, ceramics, stage and costume design, and monumental sculptures.

Placed in Dag Hammarskjöld Plaza, on East 47th Street between First and Second Avenues, they bring to New York City Juan Soriano’s unique perspective on art and society. Inspired by the popular and indigenous arts of Mexico, he drew on Cubism, German Expressionism, Fauvism and the Paris artists of the interwar period. His individuality is clearly on view in the three sculptures now in New York.

This exhibition is presented by The World Council of Peoples for the United Nations, The Consulate General of Mexico in New York, The Mexican Cultural Institute of New York, and the Fundación Juan Soriano y Marek Keller

Image credit: Image courtesy of NYC Parks

Joseph La Piana, Tension Sculptures
March 5, 2019 to August 11, 2019
53rd Street, 57th Street, 60th Street, 67th Street, and 70th Street
Park Avenue Malls, Manhattan
Map/Directions (in Google Maps)

Please note: This is a past exhibit that is no longer installed in the park.

Tension Sculptures is a series of five sculptures of varying dimensions that bring together Joseph La Piana’s conceptual heredity and interest in activating passive materiality. With Tension Sculptures, the rigid, linear nature of La Piana’s ongoing Tension Paintings series exploring the boundaries of tensile strength is translated into three dimensions, comprising monochromatic yellow rubber stretched between and wrapped around stainless steel armatures, akin to a cats-cradle. The sculptures’ need to remain in a constant state of tension is essential to their physical composition, and as a result the artist refers to them as “living sculptures.” The artist finds parallels between the sculptures and the current experiences of individuals on a global, social scale. Every day, tensions are promulgated by conflicts—whether political, social, environmental, or interpersonal. La Piana’s sculptures, stretched to their capacity, echo this state of cultural and emotional disruption.

This exhibition is presented with the Fund for Park Avenue

Image credit: Simone Leigh, Brick House, photo by Timothy Schenck, courtesy of Friends of the High Line

Simone Leigh, Brick House
June 5, 2019 to September 30, 2020
The High Line, Manhattan
Map/Directions (in Google Maps)

Please note: This is a past exhibit that is no longer installed in the park.


For the inaugural High Line Plinth commission, Simone Leigh presents Brick House, a sixteen-foot-tall bronze bust of a Black woman. The torso is a combination of the forms of a skirt and a clay house. The figure stands tall and monumental atop the Plinth, gazing resolutely down 10th Avenue.  Brick House is the first monumental work in Anatomy of Architecture, Leigh’s continuing series of sculptures that combine architectural forms from regions as varied as West Africa and the American South with the human body. The sculpture references numerous architectural forms: Batammaliba architecture from Benin and Togo; the teleuk of the Mousgoum people of Cameroon and Chad; and the restaurant Mammy’s Cupboard in the southern U.S. All three references inform both the formal elements of the work—the conflated image of woman and architecture—and its conceptual framework.

Leigh’s Brick House will be centered on the Spur, standing in sharp contrast to the disparate elements of the immediate architectural landscape. The Plinth is the focal point of the Spur, a site whose architectural and human scales are in constant vertiginous negotiation, surrounded by a competitive landscape of glass-and-steel towers shooting up from among older industrial-era brick buildings. In this space, Leigh’s magnificent Black female figure challenges visitors to think more immediately about the architecture around them, and how it reflects customs, values, priorities, and society as a whole.

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

Santiago Calatrava, S4, Photo courtesy of the artist

Santiago Calatrava, Calatrava on Park Avenue
June 8, 2015 to November 1, 2015
Park Avenue Malls, Manhattan

Please note: This is a past exhibit that is no longer installed in the park.


Seven monumental sculptures represent the artist’s continued exploration of expressive forms and structure abstracted from nature. In the artist’s own words, “their relation to the natural world suggests a link between man and nature, implying the sculptures are found objects in a human forest.”

Santiago Calatrava’s work continues to shape and redefine the boundaries that have historically separated the visual arts, particularly sculpture, from architecture and engineering. Two of the new works, S2 and S3, are complex tension compression structures wherein each element is held in place through the utilization of very fine, almost invisible cables.  Calatrava’s intention is for the sculptures to “simply grow from the ground. Within each sculpture, an internal logic of autonomy delivers lyrical forms and implies a sense of elevation and spiritual uplifting.” Santiago Calatrava builds basswood models to evaluate the aesthetic and structural characteristics of each work before moving to full-scale metal sculptures.  The largest of these, S1, is 40’ across and approximately 20’ tall. From the side, its rib-like structure appears as a thin arched line. When approached, the massive layered roof reveals its architectonic depth. As a whole, these works express a unified aesthetic anchored in the artist’s continuing exploration of the relationship between the origins of creativity and the evolutionary structure of the natural world.

This exhibition is presented by the Fund for Park Avenue and Marlborough Gallery.

Peter Woytuk, Bulls, Aluminum, 2011, courtesy of Morrison Gallery

Peter Woytuk, Peter Woytuk on Broadway
October 21, 2011 to July 27, 2012
Columbus Circle to Mitchel Square
Broadway Malls, Manhattan
Map/Directions (in Google Maps)

Please note: This is a past exhibit that is no longer installed in the park.

Peter Woytuk on Broadway brings to the Broadway Malls the vigorous yet endearing sculptures that Woytuk is known for worldwide. This is the artist’s first outdoor exhibition in New York City. The exhibition begins in Columbus Circle at 59th Street, the start of the Broadway Malls, with the monumental, life size Elephant Pair. A bronze Woytuk menagerie of sheep, ostriches, crows, hens and other fanciful sculptures continues at intervals along the Malls, concluding at Mitchel Square at 168th Street with two 2,500-pound seated Bulls.

Peter Woytuk (American, b. 1958) is recognized internationally for his sculptures of animals. Woytuk cleverly reduces their shapes to essential forms, allowing the power and elegance of his subjects to become both graceful and whimsical expressions of mass. Using a style that is at once descriptive and expressive, Woytuk also enjoys altering the scale of everyday objects such as tools or fruit, which in his hands are transformed into animated participants in the composition.

Sculptures can be found along Broadway at: 72nd Street, Verdi Square; 73rd Street, Verdi Square; 75th Street; 79th Street; 86th Street; 96th Street; 103rd Street; 107th Street; 114th Street; 117th Street; 137th Street, Montefiore Park; 139th Street; 157th Street; and 168th Street, Mitchel Square.

The ambitious exhibition is a collaboration by the Broadway Mall Association, the New York City
Department of Parks & Recreation, and the Morrison Gallery of Kent, CT.

Manolo Valdes, Dama II, 2003, Dante Park at 63rd Street, Broadway, and Columbus Avenue

Manolo Valdes, Manolo Valdes on Broadway
May 20, 2010 to January 23, 2011
Broadway, Various locations, Manhattan

Please note: This is a past exhibit that is no longer installed in the park.

Manolo Valdes on Broadway includes sixteen bronze sculptures along Broadway from Columbus Circle to 166th Street. Each sculpture will include signage that displays mobile phone access numbers for an English and Spanish language audio tour with informative descriptions of the works.

Manolo Valdes is one of the most important and respected Spanish artists working today. Best known for his passion for past masters from Zurbaran to Velazquez, Matisse to Lichtenstein, Valdes uses their work "as a pretext" ("como pretexto") to create an entirely new aesthetic object. For example, six massive sculptures entitled Reina Mariana, each over eight feet in height and weighing over two thousand pounds, depict Queen Mariana as immortalized by Velazquez. Four of these sculptures with their abstract and simplified forms will grace the famous city landmark, Columbus Circle, as well as two at the south entrance to the 72nd Street subway station. Also sited at the subway station is Odalisca, 2006, a sculpture whose subtle forms refer to works of Henri Matisse and Pablo Picasso. Another highlight of the exhibition is the series of six monumental bronzes – all over 12 feet in height – depicting female heads, their calm facial composure and structured equilibrium offset rhythmically by dynamic ornamental head-pieces. The exhibition will also include the New York debut of Valdes' two equestrian sculptures Dama a caballo V, 2008 and Caballero V, 2008, which were inspired by Velazquez's seventeenth-century portraits.

Henry Moore, Reclining Nude, bronze. Photo by David Finn.

Henry Moore, Moore in America: Monumental Sculpture at The New York Botanical Garden
May 24, 2008 to November 2, 2008
New York Botanical Garden, Bronx

Please note: This is a past exhibit that is no longer installed in the park.


This exhibition is the largest outdoor presentation of Henry Moore's sculpture ever presented in a single venue in the United States. The 20 colossal works are displayed throughout the Garden's 250 acres and among its 50 gardens and plant collections, providing for an impressive interaction of nature and art, such as Moore envisioned. Henry Spencer Moore (July 30, 1898–August 31, 1986), born in the coal-mining town of Castleford, Yorkshire, in England, is one of the world’s most known and beloved 20th-century sculptors.

Moore began studying sculpture as an art student in 1919. Today, his distinctive bronze works are displayed around the world. His subject matter is often a reclining woman, a mother and child, or a relationship in nature. His sculpture makes reference to the landscape and flowing hills of the countryside. Moore intended that his monumental works be presented in expansive landscapes where their mass and size could be seen from many angles, in a great variety of light, and in differing seasons. He wanted people to get up close and touch them.

Beverly Pepper, My Circle, Photo by Devon Johnson, © Beverly Pepper, courtesy Marlborough Gallery, New York.

Beverly Pepper, My Circle
October 23, 2015 to May 31, 2016
Union Square Park, Manhattan
Map/Directions (in Google Maps)

Please note: This is a past exhibit that is no longer installed in the park.


In special recognition of Beverly Pepper’s 93rd birthday, the monumental sculpture My Circle, 2008 is on view in Union Square. The sculpture continues the artist’s contemplation of time, materiality and place, and is part of Curvae, her series of curved forms. By using Cor–Ten steel, a corrosion–resistant material that naturally and quickly develops a weathered–looking patina, Pepper is able to speed up the oxidation process, and in so doing suggest the concept of elapsed time through the sculpture’s skin of rust.

Like many of her monumental works, My Circle engages the viewer through the interplay of convex and concave forms. The use of opposing forces – vertical and horizontal, interior and exterior – creates a lyrical meditation of space that is at once dominant and intimate. The artist has stated that “Seeing, touching, and the physical sensory engagement is the way into my sculpture; my intention is that the meaning of my work rests in experiencing it, similar to the performing arts where listening and seeing the moments of a performance where meaning is revealed through experience.” She notes that My Circle, standing at fourteen feet tall in Cor–Ten steel, for her recalls an image from years ago relating to the symbolic character in Zen Buddhism where it is known as the Enso, a drawing in ink of an open or closed circle. The closed circle represents the totality of experience and life. The open circle represents the imperfection found in all things, and is known as the circle of enlightenment, its symbolism referring to the beginning and end of all things, the circle of life, and the connectedness of existence. What Pepper is drawn to within this narrative is the notion of the “connectedness of existence” and how we can connect people and populations through art.

This exhibition is presented by Marlborough Gallery and the Union Square Partnership.

El Anatsui, Broken Bridge II
November 2012 to Spring 2013
Western Wall between West 21st and West 22nd Streets
The High Line, Manhattan
Map/Directions (in Google Maps)

Please note: This is a past exhibit that is no longer installed in the park.


El Anatsui, the celebrated contemporary artist based in Nigeria, is known for his monumental wall tapestries, which are intricately composed of metallic bottle caps culled from discarded Nigerian liquor bottles and woven together with copper wire. For High Line Art, the artist will present a newly-configured installation of Broken Bridge, a monumental drapery made of pressed tin and mirrors, which will hang on an outdoor wall adjacent to the park. Composing a stunning visual of wave-like patterns and folds, the work will reflect the surrounding landscape and mark the artist’s first outdoor installation in the United States.

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

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