Art in the Parks

Cobrin has decades of experience working with various forms of analog audio recording technology. The digital tools used to create these images are housed in the same computer as the digital audio recording programs used by the artist. For him, sound has a visual component that is expressed in these pieces and may in fact be a part of the way in which digital technology’s user interface is designed and received. Cobrin has taken that effect to another level by making photographs that reconstruct these objects to reveal their forms, and his use of color creates an impactful statement about their obsolescence and decay.

This exhibition is presented by El Taller Latino Americano.

Happy to See You, a vibrant public art installation by local artist Marya Triandafellos, is designed to inspire joy and positivity. The installation features colorful, minimalist images displayed on a wrought iron fence on the Greenwich Street side of Washington Market Park. Happy to See You offers a playful visual engagement to brighten the area. With saturated colors and abstracted shapes like clouds, fish, and flowers, the installation evokes universal themes of connection, positivity, and community.

This exhibition is presented by the Friends of Washington Market Park.

The sound installation, conceived by Matthew Leifheit for the New York City AIDS Memorial, liberates long-unheard voices from archives in cities across the United States, uniting them in an hour-long recital that will loop daily throughout June 2025. The songs presented in this sound installation-as-recital are sourced from an archive of gay men’s chorus performance and rehearsal video recordings from the decade preceding the advent of effective HIV treatments in the United States (1985–1995). At the time of this installation, the artist has preserved 46 hours and 22 minutes of performance footage, drawn from archives spanning New York, San Francisco, Los Angeles, Chicago, Atlanta, Dallas, Denver, and Washington, DC.

Gaze depicts a stylized eye which is a recurring symbol in Reindorf’s work. Typically shown as a canton in the upper left quadrant of her flag paintings, the unblinking eye also shows up within the paintings in unexpected ways, alongside female figures whose only distinct facial feature are unblinking eyes which stare back at the audience. Considering how female bodies can especially be objectified in and outside of art, the eye is intentionally repeated across Reindorf’s works to provide the depicted female figures an opportunity to confront the audience as well as counteract the prevalent male gaze.

This exhibition is presented by Glossier.

American Gold: A Ship of Human Bondage is an Augmented Reality (AR) installation based on slave ships and enslaved people. The installation describes the captives as figures made of gold. American Gold aims to draw attention to the monetary value of captives and the inhumane treatment of African captives. American Gold makes the slave ship an almost invisible structure that floats above the viewer, giving the viewer a glimpse of how many people were squeezed into a slaving vessel from below. The installation is part of a larger series of art installations about slavery called Slavery Trails, placed at historical sites throughout the United States.

Birth of Islands, is composed of slick, blade-like foam-coated resin elements that emanate outward from the pores of a muddy, gray ceramic stump. When visiting New York, Solar-Abboud was struck by the landscape—building after building rising from the soil in a fight for prominence, just as vegetation in the forest combats for sunlight in order to survive. Birth of Islands refers to this competitive ecosystem, while also evoking human anatomy: two yellow, tongue-like emanations have seemingly tunneled their way from underground onto the High Line. The forms are spoon-like in their appearance, concave or convex, depending on one’s vantage point. The result appears simultaneously post-human and primordial, sophisticated and elementary—a representation of our own unending transformation alongside nature's ever evolving state.

This exhibition is presented by the High Line.

The works on view on the High Line were produced by the artist for this exhibition. Since 2020 Jackson has constructed several monumental, slotted steel sculptures, largely based on smaller works of his from the late 1990s. The artist honors his utilitarian material, and yet the painted, cut, and pockmarked surfaces animate the sculptures beyond their material properties. On view at the Western Rail Yards, Oliver Lee Jackson’s energetic work complements the section’s simple gravel pathway and original self-seeded, wild landscape.

This exhibition is presented by Friends of the High Line.