“Library for All” by Aseel Sawalha

This week, we went on a hunt for “Library for All” a creation by artist Aseel Sawalha which sits on the banks of the Hudson River in the northern stretch of the tranquil Riverside Park. Although we initially struggled to locate the sculpture, when we spotted the massive turquoise piece from the terrace overlooking the park, we rushed down the steps, leading us down to the banks of the river. Resembling a massive turquoise drill on a slight angle to burrow into the ground, the sculpture looks like it could teeter with just a slight gust of wind. Upon closer inspection, the piece is composed of sturdy found books arranged in different orientations to create its unique shape. The shape is no accident. Sawalha’s distinctly manmade form mirrors the industrial structures that disrupt the natural landscape. In conjunction with the natural materials present in the recycled writings that make up the piece, this installation on display through September 2026 is a must see for nature lovers and bookworms alike.

"Chasing Rainbows" by Charlotte Colbert

As the weather begins to shift and hints of spring bring a renewed sense of optimism, we recently came across the two-part installation “Chasing Rainbows” by UK-based multimedia artist Charlotte Colbert, curated by New Public. Placed across New York’s Flatiron and Meatpacking neighborhoods, the towering sculptures invite passersby to pause amid the city’s constant movement and reconnect with a sense of curiosity and wonder about the world around them. Set in the shadow of the Flatiron Building, “Dreamland Sirens” takes the shape of a watchful eye supported by cascading mirrored tears that reflect the viewer and the surrounding city. With its unmistakable resemblance to the protective evil eye motif found across many cultures, we like to think it might also be quietly keeping watch over all of us.   Nearby, “Where Angels Live” appears as a steel tree adorned with talismans and symbols representing meaning across cultures, religions, and personal beliefs. Together, the sculptures evoke protection, reflection, and perhaps a hopeful signal that brighter days lie ahead.

“Love-ego= Lov Couple 1/4 wo/man” by Pavel (Pasha) Radetzki

This week, we set out on a downtown art pilgrimage through Lower Manhattan, chasing the vivid silhouette of “Love-ego = Love Couple 1/4 wo/man” by Pavel (Pasha) Radetzki located in Thomas Paine Park. Tucked into the city’s Civic Center, the sculpture immediately commands attention with its vivid color and striking form: two figures, each missing a quarter of their bodies. Radetzki’s choice of the missing fraction is intentional. It reflects the devastating population loss in the Paless’e or Polesia marshlands, Radetzki’s homeland along the Belarus–Ukraine border. By physically removing part of each figure, the artist makes absence visible, transforming statistics into something human and deeply felt. The work becomes not just a sculpture, but a quiet call for peace and remembrance. The placement of the sculpture adds even more resonance. Located near the historic sites of the Small Collect Pond and the African Burial Ground and set against the imposing backdrop of the New York State Supreme Court, the piece invites reflection on justice, memory, and our collective responsibility to confront humanitarian loss.

“Even Still” by Almond Zigmund

After this week’s thrilling blizzard, we found ourselves drawn to a pop of color amidst the yet again snow-covered landscape. Located in Bella Abzug Park within the Hudson Yards neighborhood, we braved the slush and wind to visit the eye-popping installation “Even Still” by New York based artist Almond Zigmond. Rising above the walkways of the park, the sculpture is an emblem of contrast in both its shape and coloring. Drawing from her inspirations of geometry as a simultaneously unifying and destabilizing force, Zigmond creates an experience of tension for the viewer. The soft curves of the structure are offset by straight, unyielding lines in bright colors which adorn it. Instead of yielding to the discomfort of dissonance, “Even Still” encourages us to embrace the natural contradictions that embody each of us and our environment to find harmony.

“Ruth Asawa: A Retrospective”

Last week, we had the chance to see the final days of “Ruth Asawa: A Retrospective” at the Museum of Modern Art. The exhibition traces Ruth Asawa’s remarkable journey from her early academic training to her rise as one of the most innovative voices in American contemporary art. Featuring more than 300 works from across Asawa’s career, the retrospective highlights the breadth of Asawa’s practice, while centering her iconic wire sculptures. Formed from continuous, interlocking loops of wire, these intricate pieces explore texture, light, and shadow. Their delicate, suspended forms shift with their surroundings, creating an almost meditative visual experience. Asawa’s life story is as compelling as her art. Born in California in 1926 to first generation Japanese Immigrants, she endured profound injustice because of her background. In 1942, her family was forcibly separated and incarcerated in internment camps under U.S. government policies targeting Japanese Americans. After her release, she enrolled at the Milwaukee State Teachers College to study education, but discriminatory laws in Wisconsin prevented her from receiving a teaching credential due to her ancestry. The exhibition effortlessly underscores the resilience behind Asawa’s work and the transformative power of American modern art. It invites reflection on creativity born from adversity and the enduring ability to make beauty in the face of hardship. The retrospective will next travel to the Guggenheim Bilbao in Bilbao, Spain, and the Fondation Beyeler in Riehen/Basel, Switzerland, where it will remain on view through January 2027.