Instagram Story Save

NOW ON VIEW: “Genesis Belanger: Heads or Tails” transforms City Hall Park into a stage of oversized birds, three potted fruit trees waiting to be planted among their living counterparts, and two figures inspired by Lady Justice. On view through November 15, Belanger’s first public art exhibition invites us to look closer at the spaces and symbols we move through every day. ⚖️

In “Distressed Assets,” a flock of concrete birds perches within the City Hall Park Fountain, cast in pigments that echo the fountain’s stone. The birds pluck pennies from the water, marking the U.S. Mint’s retirement of the one-cent coin earlier this year. Inspired by the park’s proximity to Wall Street and the decommissioning of the penny, Belanger’s work reminds us that the cost of making a wish has risen.

The exhibition is free and open to all, and can be explored anytime, anywhere, on the free Bloomberg Connects app. @genesisbelanger @publicartfund

Genesis Belanger
Courtesy of the artist, Pace Gallery and Perrotin.
All Photos: Nicholas Knight, courtesy of Public Art Fund, NY.
Presented by Public Art Fund as a part of Genesis Belanger: Heads or Tails at City Hall Park, New York City, June 2, 2026 – November 15, 2026.

NOW ON VIEW: “Genesis Belanger: Heads or Tails” transforms City Hall Park into a stage of oversized birds, three potted fruit trees waiting to be planted among their living counterparts, and two figures inspired by Lady Justice. On view through November 15, Belanger’s first public art exhibition invites us to look closer at the spaces and symbols we move through every day. ⚖️

In “Distressed Assets,” a flock of concrete birds perches within the City Hall Park Fountain, cast in pigments that echo the fountain’s stone. The birds pluck pennies from the water, marking the U.S. Mint’s retirement of the one-cent coin earlier this year. Inspired by the park’s proximity to Wall Street and the decommissioning of the penny, Belanger’s work reminds us that the cost of making a wish has risen.

The exhibition is free and open to all, and can be explored anytime, anywhere, on the free Bloomberg Connects app. @genesisbelanger @publicartfund

Genesis Belanger
Courtesy of the artist, Pace Gallery and Perrotin.
All Photos: Nicholas Knight, courtesy of Public Art Fund, NY.
Presented by Public Art Fund as a part of Genesis Belanger: Heads or Tails at City Hall Park, New York City, June 2, 2026 – November 15, 2026.

NOW ON VIEW: “Genesis Belanger: Heads or Tails” transforms City Hall Park into a stage of oversized birds, three potted fruit trees waiting to be planted among their living counterparts, and two figures inspired by Lady Justice. On view through November 15, Belanger’s first public art exhibition invites us to look closer at the spaces and symbols we move through every day. ⚖️

In “Distressed Assets,” a flock of concrete birds perches within the City Hall Park Fountain, cast in pigments that echo the fountain’s stone. The birds pluck pennies from the water, marking the U.S. Mint’s retirement of the one-cent coin earlier this year. Inspired by the park’s proximity to Wall Street and the decommissioning of the penny, Belanger’s work reminds us that the cost of making a wish has risen.

The exhibition is free and open to all, and can be explored anytime, anywhere, on the free Bloomberg Connects app. @genesisbelanger @publicartfund

Genesis Belanger
Courtesy of the artist, Pace Gallery and Perrotin.
All Photos: Nicholas Knight, courtesy of Public Art Fund, NY.
Presented by Public Art Fund as a part of Genesis Belanger: Heads or Tails at City Hall Park, New York City, June 2, 2026 – November 15, 2026.

NOW ON VIEW: “Genesis Belanger: Heads or Tails” transforms City Hall Park into a stage of oversized birds, three potted fruit trees waiting to be planted among their living counterparts, and two figures inspired by Lady Justice. On view through November 15, Belanger’s first public art exhibition invites us to look closer at the spaces and symbols we move through every day. ⚖️

In “Distressed Assets,” a flock of concrete birds perches within the City Hall Park Fountain, cast in pigments that echo the fountain’s stone. The birds pluck pennies from the water, marking the U.S. Mint’s retirement of the one-cent coin earlier this year. Inspired by the park’s proximity to Wall Street and the decommissioning of the penny, Belanger’s work reminds us that the cost of making a wish has risen.

The exhibition is free and open to all, and can be explored anytime, anywhere, on the free Bloomberg Connects app. @genesisbelanger @publicartfund

Genesis Belanger
Courtesy of the artist, Pace Gallery and Perrotin.
All Photos: Nicholas Knight, courtesy of Public Art Fund, NY.
Presented by Public Art Fund as a part of Genesis Belanger: Heads or Tails at City Hall Park, New York City, June 2, 2026 – November 15, 2026.

Thrilled to share this fabulous new @publicartfund exhibition by @genesisbelanger in City Hall Park curated by @mel_kress and project manager @goodness.gravy ! What a beautiful and joyful gift to NYC!! ❤️ Thanks to the brilliant team at #PublicArtFund and the generous individuals, foundations, fabricators and galleries who made the exhibition possible! @pace @perrotin @uapcompany See you in the park!!

p.s. Bring a penny to make a wish in the fountain! ✨✨✨

Join @publicartfund in celebrating “Genesis Belanger: Heads or Tails,” the artist’s first public exhibition, opening on June 2 at 6:00pm in City Hall Park! @genesisbelanger

We’re thrilled to announce pur 2026 program! Next year, we’re bringing ambitious new exhibitions and permanent installations to every corner of New York—featuring 35 incredible artists from around the world. From photographs on bus shelters to ping-pong table sculptures on the beach, monumental works in city parks, and art at major transit hubs—wherever you go, you’ll encounter Public Art Fund. Free, accessible, and full of imagination—this season transforms everyday life into something extraordinary!

“On the Flip Side” featuring Kennedi Carter (@internetbby), Lougè Delcy (@dapperlou), Camila Falquez (@camilafalquez), Ruby Okoro (@rubyokoro), Dana Scruggs (@danascrugs), and Juan Veloz (@jveloz)
Opening February 4, 2026
@JCDecauxna Bus Shelters in New York City, Chicago, and Boston

Woody De Othello (@woodyothello)
Opening May 5, 2026
@BrooklynBridgePark

Genesis Belanger (@genesisbelanger)
Opening June 2, 2026
City Hall Park

“Between Tides” featuring Moko Fukuyama (@happy_mountains), Ilana Harris-Babou, @LasHermanasIglesias, Carlos H. Matos, @AmaliaPica, and @SUPERFLEX.
Opening June 27, 2026
Rockaway Beach, Queens

Gabriel Orozco (@_gabrierrriel.orozco_)
Opening July 8, 2026
JCDecauxna Bus Shelters in New York City, Chicago, and Boston

Camille Henrot (@coelocanthe)
September 9, 2026
Doris C. Freedman Plaza, @centralparknyc

JFK Airport Terminal 6In collaboration with JFK Millennium Partners and the @theportauthority_ny_nj19 new permanent commissions from Nina Chanel Abney, Nevin Aladağ, Candida Alvarez, Felipe Baeza, Kerstin Brätsch, Jane Dickson, Teresita Fernández, Charles Gaines, Sky Hopinka, Shara Hughes, Laure Prouvost, Barbara Kruger, Eddie Martinez, Kambui Olujimi, GaHee Park, Uman, Charline von Heyl, Dyani White Hawk, and Haegue Yang.

@publicartfund

Truly inspired by the clarity of vision in these early days of the nascent @studiomuseum, and the effort that shines through to name every person who has been a part of the institution’s heart for decades. Congratulations to everyone who has brought this elegant and welcoming new building to life <3
SMH 2002-03 resident Louis Cameron
Lorraine O’Grady, Art Is…, 1983
Houston E. Conwill’s bronze time capsules buried in the museum’s sculpture garden, to be opened in 2034
Glenn Ligon’s Give Us a Poem (ME/WE), 2007, initially created as a site-specific installation for the Studio Museum in Harlem’s lobby

Truly inspired by the clarity of vision in these early days of the nascent @studiomuseum, and the effort that shines through to name every person who has been a part of the institution’s heart for decades. Congratulations to everyone who has brought this elegant and welcoming new building to life <3
SMH 2002-03 resident Louis Cameron
Lorraine O’Grady, Art Is…, 1983
Houston E. Conwill’s bronze time capsules buried in the museum’s sculpture garden, to be opened in 2034
Glenn Ligon’s Give Us a Poem (ME/WE), 2007, initially created as a site-specific installation for the Studio Museum in Harlem’s lobby

Truly inspired by the clarity of vision in these early days of the nascent @studiomuseum, and the effort that shines through to name every person who has been a part of the institution’s heart for decades. Congratulations to everyone who has brought this elegant and welcoming new building to life <3
SMH 2002-03 resident Louis Cameron
Lorraine O’Grady, Art Is…, 1983
Houston E. Conwill’s bronze time capsules buried in the museum’s sculpture garden, to be opened in 2034
Glenn Ligon’s Give Us a Poem (ME/WE), 2007, initially created as a site-specific installation for the Studio Museum in Harlem’s lobby

Truly inspired by the clarity of vision in these early days of the nascent @studiomuseum, and the effort that shines through to name every person who has been a part of the institution’s heart for decades. Congratulations to everyone who has brought this elegant and welcoming new building to life <3
SMH 2002-03 resident Louis Cameron
Lorraine O’Grady, Art Is…, 1983
Houston E. Conwill’s bronze time capsules buried in the museum’s sculpture garden, to be opened in 2034
Glenn Ligon’s Give Us a Poem (ME/WE), 2007, initially created as a site-specific installation for the Studio Museum in Harlem’s lobby

Truly inspired by the clarity of vision in these early days of the nascent @studiomuseum, and the effort that shines through to name every person who has been a part of the institution’s heart for decades. Congratulations to everyone who has brought this elegant and welcoming new building to life <3
SMH 2002-03 resident Louis Cameron
Lorraine O’Grady, Art Is…, 1983
Houston E. Conwill’s bronze time capsules buried in the museum’s sculpture garden, to be opened in 2034
Glenn Ligon’s Give Us a Poem (ME/WE), 2007, initially created as a site-specific installation for the Studio Museum in Harlem’s lobby

Truly inspired by the clarity of vision in these early days of the nascent @studiomuseum, and the effort that shines through to name every person who has been a part of the institution’s heart for decades. Congratulations to everyone who has brought this elegant and welcoming new building to life <3
SMH 2002-03 resident Louis Cameron
Lorraine O’Grady, Art Is…, 1983
Houston E. Conwill’s bronze time capsules buried in the museum’s sculpture garden, to be opened in 2034
Glenn Ligon’s Give Us a Poem (ME/WE), 2007, initially created as a site-specific installation for the Studio Museum in Harlem’s lobby

Truly inspired by the clarity of vision in these early days of the nascent @studiomuseum, and the effort that shines through to name every person who has been a part of the institution’s heart for decades. Congratulations to everyone who has brought this elegant and welcoming new building to life <3
SMH 2002-03 resident Louis Cameron
Lorraine O’Grady, Art Is…, 1983
Houston E. Conwill’s bronze time capsules buried in the museum’s sculpture garden, to be opened in 2034
Glenn Ligon’s Give Us a Poem (ME/WE), 2007, initially created as a site-specific installation for the Studio Museum in Harlem’s lobby

Truly inspired by the clarity of vision in these early days of the nascent @studiomuseum, and the effort that shines through to name every person who has been a part of the institution’s heart for decades. Congratulations to everyone who has brought this elegant and welcoming new building to life <3
SMH 2002-03 resident Louis Cameron
Lorraine O’Grady, Art Is…, 1983
Houston E. Conwill’s bronze time capsules buried in the museum’s sculpture garden, to be opened in 2034
Glenn Ligon’s Give Us a Poem (ME/WE), 2007, initially created as a site-specific installation for the Studio Museum in Harlem’s lobby

Truly inspired by the clarity of vision in these early days of the nascent @studiomuseum, and the effort that shines through to name every person who has been a part of the institution’s heart for decades. Congratulations to everyone who has brought this elegant and welcoming new building to life <3
SMH 2002-03 resident Louis Cameron
Lorraine O’Grady, Art Is…, 1983
Houston E. Conwill’s bronze time capsules buried in the museum’s sculpture garden, to be opened in 2034
Glenn Ligon’s Give Us a Poem (ME/WE), 2007, initially created as a site-specific installation for the Studio Museum in Harlem’s lobby

Truly inspired by the clarity of vision in these early days of the nascent @studiomuseum, and the effort that shines through to name every person who has been a part of the institution’s heart for decades. Congratulations to everyone who has brought this elegant and welcoming new building to life <3
SMH 2002-03 resident Louis Cameron
Lorraine O’Grady, Art Is…, 1983
Houston E. Conwill’s bronze time capsules buried in the museum’s sculpture garden, to be opened in 2034
Glenn Ligon’s Give Us a Poem (ME/WE), 2007, initially created as a site-specific installation for the Studio Museum in Harlem’s lobby

This Thursday ! Join artist Torkwase Dyson and scholar Daphne A. Brooks for a conversation on "Akua," Dyson’s first public project in New York City. Together, they’ll explore sound, place, and history through the lens of Black feminist sonic traditions.

🗓 November 9 at The Cooper Union’s Great Hall
🎟 Registration required; seating is limited.

Link in bio ⬆️

@torkwasedyson @richardgraygallery @pacegallery

@mel_kress

@mel_kress

NOW ON VIEW:Monira Al Qadiri’s “First Sun” is now on view at Doris C. Freedman Plaza in Central Park through August 2, 2026. This large-scale sculpture is Al Qadiri’s first public artwork and first institutional presentation in New York City. 🪲

The majestic painted aluminum sculpture of a hybrid human-scarab figure reimagines the ancient Egyptian deity Khepri—god of the rising sun—as a contemporary monument. At a towering 17 feet tall atop its base and resplendent in purple and green hues, the sculpture reflects Al Qadiri’s interest in how humanity explores the unknown through science, religion, mythology, and art.

Al Qadiri was inspired by a painting inside the Tomb of Ramses I in Luxor, Egypt, which depicted a figure with a scarab beetle face. This stunning image led the artist to explore the blending of human and insect forms as a symbol of the complex relationship between humanity and the natural world.

Monira Al Qadiri’s work explores themes of history, petro-cultures, science fiction, and the divine. Her practice often bridges personal narrative and cultural critique, employing unexpected materials and forms to reframe global conversations on identity, industry, and the natural world.

As a co-commissioned work, “First Sun” will travel to Toronto following its New York presentation, as part of the Lassonde Art Trail’s opening season in fall 2026. Concurrent with First Sun, Al Qadiri debuts her first solo exhibition first with @Perrotin in New York City on September 4, 2025.

@moniraism @publicartfund @thelatfoundation @novembergp

#MoniraAlQadiri
“First Sun,” 2025
Courtesy of the artist
Photo: Nicholas Knight, courtesy of Public Art Fund, NY.
“Monira Al Qadiri: First Sun” was co-commissioned by Public Art Fund and Lassonde Art Trail and presented at Doris C. Freedman Plaza, New York City, Sept 3, 2025 – Aug 2, 2026 and Lassonde Art Trail, Toronto, ON, Sept 10, 2026 – Sept 2027

In print! Enjoying again these words on the expansive, necessary work of @carmen.winant and her @publicartfund exhibition with @jcdecauxna this spring

“the collages [in ‘My Mother and Eye’] interweave film stills from Winant’s mother’s first independent journey as a teenager with photographs from the artist’s own teenage travel expedition, highlighting the horizon line as a metaphorical site of agency and liberation.”

@artforum @jessicaesimmons

In print! Enjoying again these words on the expansive, necessary work of @carmen.winant and her @publicartfund exhibition with @jcdecauxna this spring

“the collages [in ‘My Mother and Eye’] interweave film stills from Winant’s mother’s first independent journey as a teenager with photographs from the artist’s own teenage travel expedition, highlighting the horizon line as a metaphorical site of agency and liberation.”

@artforum @jessicaesimmons

In print! Enjoying again these words on the expansive, necessary work of @carmen.winant and her @publicartfund exhibition with @jcdecauxna this spring

“the collages [in ‘My Mother and Eye’] interweave film stills from Winant’s mother’s first independent journey as a teenager with photographs from the artist’s own teenage travel expedition, highlighting the horizon line as a metaphorical site of agency and liberation.”

@artforum @jessicaesimmons

In print! Enjoying again these words on the expansive, necessary work of @carmen.winant and her @publicartfund exhibition with @jcdecauxna this spring

“the collages [in ‘My Mother and Eye’] interweave film stills from Winant’s mother’s first independent journey as a teenager with photographs from the artist’s own teenage travel expedition, highlighting the horizon line as a metaphorical site of agency and liberation.”

@artforum @jessicaesimmons

Starting tomorrow, May 6, “Torkwase Dyson: Akua” opens at Pier 1, Brooklyn Bridge Park—the artist’s first major public installation in New York City. “Akua” is a large, open pavilion with an immersive multi-channel soundscape that the artist envisions as a spatial drawing. Inside the pavilion, experience recorded sounds moving through space across eight speakers, including layered conversations from Black archives, nature field recordings, and electronic sounds.

Dyson’s multilayered sonic composition explores her idea of “breath as geography.” The artist proposes that the spaces between words — subtle breaths, ums, pauses — can carry memories of specific places. She asks, “what can the space between words and silence tell us about land, water, infrastructure, and migration?”

Many thanks to Torkwase, Jenée-Daria Strand, Rashel Peddersen, Daniel Neumann, Pace and GRAY galleries, and the entire Public Art Fund team.

“Akua” is on view at Pier 1 Bridgeview Lawn in @brooklynbridgepark from May 6 through March 8, 2026. Explore anytime, anywhere, on the free @bloombergconnects app.

📷 :
Pictured: @torkwasedyson in her Beacon, New York, studio. Credit: Cole Wilson / @colewilson. Source: Cultured Magazine / @cultured_mag.

Starting tomorrow, May 6, “Torkwase Dyson: Akua” opens at Pier 1, Brooklyn Bridge Park—the artist’s first major public installation in New York City. “Akua” is a large, open pavilion with an immersive multi-channel soundscape that the artist envisions as a spatial drawing. Inside the pavilion, experience recorded sounds moving through space across eight speakers, including layered conversations from Black archives, nature field recordings, and electronic sounds.

Dyson’s multilayered sonic composition explores her idea of “breath as geography.” The artist proposes that the spaces between words — subtle breaths, ums, pauses — can carry memories of specific places. She asks, “what can the space between words and silence tell us about land, water, infrastructure, and migration?”

Many thanks to Torkwase, Jenée-Daria Strand, Rashel Peddersen, Daniel Neumann, Pace and GRAY galleries, and the entire Public Art Fund team.

“Akua” is on view at Pier 1 Bridgeview Lawn in @brooklynbridgepark from May 6 through March 8, 2026. Explore anytime, anywhere, on the free @bloombergconnects app.

📷 :
Pictured: @torkwasedyson in her Beacon, New York, studio. Credit: Cole Wilson / @colewilson. Source: Cultured Magazine / @cultured_mag.

Now through April 6 you can experience the breathtaking work of artist @carmen.winant on over 150 bus shelters all over NYC! Curated by @publicartfund Senior Curator @mel_kress, “My Mother and Eye” takes New Yorkers on a journey across time and landscapes, and explores themes of freedom and self-representation.

This exhibition is part of an ongoing collaboration between Public Art Fund and @jcdecauxna, which transforms spaces usually reserved for advertising into vibrant canvases for art. The partnership aims to make art more accessible for New Yorkers as they move through their daily routines.

Set against the backdrop of daily transit, “My Mother and Eye” invites riders and passersby to reflect on their own stories of travel, transformation, and connection.

Check out Public Art Fund’s site for the full list of locations!

#welovenyc #publicartfund #nyc

Tonight in New York!

Join artist Carmen Winant and Public Art Fund Senior Curator Melanie Kress as they discuss My Mother and Eye, Winant’s Public Art Fund exhibition and her largest public art project to date. On view from February to April 2025, My Mother and Eye features 11 compositions assembled fromover 1,200 film stills from works created by Winant and her mother as teenagers. The works will be displayed on 300 JCDecaux bus shelters in New York, Chicago, and Boston. This exhibition explores themes of generational kinship, self-discovery, and agency, offering a reflection on the personal and cultural landscapes shared by mother and daughter.

During the talk, Winant will offer a short experimental lecture, give insights into her creative process, the significance of public space for this project, and the ways in which photography can shape both personal narratives and collective histories. The conversation will delve into the powerful role of self-representation and the importance of bringing intimate, familial stories into public view.

6:30pm EST
Frederick P. Rose Auditorium
The Cooper Union
41 Cooper Sq.
New York, NY 10008

Register via the link in our bio.

@carmen.winant
@publicartfund
#carmenwinant
#MyMotherandEye

Tonight in New York!

Join artist Carmen Winant and Public Art Fund Senior Curator Melanie Kress as they discuss My Mother and Eye, Winant’s Public Art Fund exhibition and her largest public art project to date. On view from February to April 2025, My Mother and Eye features 11 compositions assembled fromover 1,200 film stills from works created by Winant and her mother as teenagers. The works will be displayed on 300 JCDecaux bus shelters in New York, Chicago, and Boston. This exhibition explores themes of generational kinship, self-discovery, and agency, offering a reflection on the personal and cultural landscapes shared by mother and daughter.

During the talk, Winant will offer a short experimental lecture, give insights into her creative process, the significance of public space for this project, and the ways in which photography can shape both personal narratives and collective histories. The conversation will delve into the powerful role of self-representation and the importance of bringing intimate, familial stories into public view.

6:30pm EST
Frederick P. Rose Auditorium
The Cooper Union
41 Cooper Sq.
New York, NY 10008

Register via the link in our bio.

@carmen.winant
@publicartfund
#carmenwinant
#MyMotherandEye