Spotted at 10th Avenue between 18th and 19th Streets: a giant billboard featuring two chickens (well, one hen and one rooster, to be specific) casually crossing the road — but don’t expect a punchline. This clever and surreal artwork, titled Don’t ASK by artist Allison Katz, is part of the High Line’s rotating public art series. With its deadpan humor and painterly style, the piece turns the classic joke setup into an open-ended moment of reflection. Why are they crossing? Katz leaves it up to the viewer — and maybe that’s the whole point. This installation will be up only through August 2025.
If you happened to strolled along the High Line sometime between March 11th and May 31st, you may have noticed something striking floating above 10th Avenue at 18th Street: a familiar, fuchsia feline lounging with purpose. Soft Power was the latest billboard installation by acclaimed contemporary artist Alex Da Corte, and it turned heads for all the right reasons.
Because the artwork changes only once every eighteen months or so, I never feel too lazy when it takes me six months to visit the latest monumental piece of public art exhibited on the High Line Plinth. I mean, it’s not going anywhere any time soon. The fourth High Line Plinth commission (I skipped covering the second one because it was so crappy), is by Colombian-born artist Iván Argote and it’s called Dinosaur (2024). Let’s take a closer look! Continue reading Dinosaur: Monumental Pigeon Statue on the High Line Plinth→
Spanish-born artist Teresa Solar-Abboud (b. 1985) creates sculptures, drawings, and videos characterized by an interest in fiction, storytelling, natural history, ecology, and anatomy. For her commission on the High Line, Solar-Abboud presents Birth of Islands (2024), a new sculpture in her series of zoomorphic shapes inspired by animals and prehistoric life forms. Continue reading Teresa Solar Abboud’s Birth of Islands on The High Line→
American artist Karon Davis (b. 1977) brings to life historical and allegorical figures in her signature white, wrapped plaster sculptures. Immersed in her parents’ worlds of theater and ballet as a child, Davis’ installations merge memory and scenes from the stage with historical events, mythology, and ongoing socio-political concerns. For her High Line, commission Davis created Curtain Call a larger-than-life bronze portrait of a ballerina taking her final bow after a performance. Continue reading Karon Davis Curtain Call on The High Line→
