The High Line Art Program sites commissioned sculptures, outdoor performances, and group exhibitions among the elevated walkways and cultivated greenspaces of one of New York City’s most popular public parks. Spanning a portion of the city’s west side from the Meatpacking District to Hudson Yards, the High Line has offered millions of visitors unique encounters with challenging new work by an international array of contemporary artists. For more than a decade, The High Line has provided emerging and established artists with an important, highly visible public platform for new work. It draws on its considerable expertise and curatorial acumen to ensure artists have a successful experience, supporting them in taking risks and encouraging experiments in scale, form, and duration.
Friends of the High Line
Hannah Levy, Retainer, 2021. A High Line Commission. On view April 2021 – March 2022. Photo by Timothy Schenck. Courtesy of the High Line.
Ibrahim Mahama, 57 Forms of Liberty, 2021. High Line Commission. On view April 2021 – March 2022. Photo by Timothy Schenck. Courtesy of the High Line.
Raúl de Nieves, Stand inside your love, 2021. Part of The Musical Brain, a High Line Commission. On view April 2021 – March 2022. Photo by Timothy Schenck. Courtesy of the High Line.
Guillermo Galindo, Fuente de Lagrimas (Fountain of Tears), 2014–2016. Part of The Musical Brain, a High Line Commission. On view April 2021 – March 2022. Photo by Timothy Schenck. Courtesy of the High Line.
David Horvitz, the day of a thousand hours, 2021. Part of The Musical Brain, a High Line Commission. On view April 2021 – March 2022. Photo by Timothy Schenck. Courtesy of the High Line.
Naama Tsabar, Equal Measure, 2021. Part of The Musical Brain, a High Line Commission. On view April 2021 – March 2022. Photo by Timothy Schenck. Courtesy of the High Line.
“The terrific range of project proposals we receive each year speaks to the mobile and porous disciplinary boundaries of contemporary art practice, and to the rich and inventive ways writers approach art today. They are alert to the urgent need to expand the conventions of art history and criticism with ideas from other discourses, such as black studies, transnational and diaspora studies, gender and women’s studies, and LGBT studies. The work of lesser known and overlooked artists and art communities continues to be mined, with writers articulating new ways to counter the striking imbalances of race, class and gender that continue to affect the arts and the culture industry.”