This statue commemorates Horace Greeley, longtime editor of the Tribune. The pedestal upon which the statue rests was designed by Richard Morris Hunt. Greeley established the New York Tribune in efforts to promote the Whig and Republican parties as well as opposition to slavery. In the 1872 presidential election, he was the candidate for the Liberal Republican party.

Frederick Warren Allen was the winner of the competition to sculpt the pediment for the New York County Courthouse. Because pediment sculpting was challenging due to the triangular shape of the space, Allen was chosen for his ability to sculpt full-sized figures in the cramped corners. Allen's classical, yet contemporary depiction of the figures mirror the inscription written on the building below: "The true administration of justice is the finest pillar of good government."

Notable sculptors, Philip Martiny and Henry Kirk Bush-Brown, created the 54 sculptures on the facade. The statues represent allegorical subjects such as the four seasons and subjects such as Philosophy and Law.

Mayor Abraham De Peyster (1657–1728) was born in New Amsterdam, now known as Manhattan. De Peyster came from a prosperous mercantile family. He was influential in the young city; he had many positions, including alderman, mayor, member of the king’s council, and acting governor. By the end of his life, De Peyster was allegedly one of the city’s wealthiest inhabitants. The sculpture has moved around several times in lower Manhattan. It was originally in Bowling Green and then rested in Hanover Square till 2003. Then it was removed and put into storage to make room for the British Memorial Garden. It is currently in Thomas Paine Park.

As the largest statue in Manhattan, at 2,800 square feet and set on top of the forty-story Municipal Building, Civic Fame is supported by an interior skeleton of steel and copper branches meant to withstand wind and storm. The figure was assembled, similarly to the Statue of Liberty, in many separate sheets of copper and then fused together to create a smooth, seamless surface.

As its name suggests, Rosenthal's "Five in One" contains five interlocking circles that represent the five Boroughs: Bronx, Brooklyn, Manhattan, Queens, and Staten Island. Although the artist intended for the work to be painted bright red, a lack of funds caused it to be originally created with the exposed cor-ten steel on the exterior. Throughout the decades, however, graffiti plagued the sculpture. Years later, money was raised to paint the work a brilliant red hue, which both protected the sculpture and completed Rosenthal's original vision.

Five - 7' diameter bronze medallions are set in a two block long granite paving pattern, connecting the different parts of Foley Square. Each medallion traces a distinct period in the history of the Square, from its use as a Native American camp, through its time as a slave burial ground, to its present function as civic center.

The monument Triumph of the Human Spirit is one of the world's largest site-specific installations, venerating the experience of African American enslavement. Towering at over fifty feet and weighing more than 300 tons, the massive black granite sculpture was built on a rediscovered African burial ground. The sculpture depicts an abstract female antelope form, mounted on a boat shaped base. According to the artist, the piece is inspired by "Chi Wara" an antelope effigy from West Africa that symbolizes a responsibility for continuing the next generation and for celebrating a successful harvest. Triumph of the Human Spirit serves as a monument to honor all Africans brought to America but is also dedicated to all ancestors as well as the future generations to come.

This paving scheme, entitled Reunion, was designed for the surface of the three-acre walkway that connects Police Headquarters with the Municipal Building. To distinguish the Municipal Building from its diverse surroundings, Jaudon recreated the outline of the building's original 1910 sidewalk. It has been described as "an intricacy that encourages daydreams inside a bold frame of diagonal bar patterns that keeps one aware of a broader social sense." It won an Art Commission Award for Design Excellence in Design in 1987. The sidewalk has traditional brick patterns reminiscent of the McKim, Mead and White Municipal Building's inner courtyard. Jaudon's red brick sidewalk serves as a frame for an inlaid granite art piece of diagonals and overlapping circles 34 feet in diameter.

This installation by Mark Gibian is made from galvanized steel cables that undulate across the station's skylight. The materials and their use refer to the Brooklyn Bridge's historic use of steel cables as a building material. An MTA Arts for Transit project.

The current site of the African Burial Ground consists of the outdoor monument, adjacent to the Ted Weiss Federal Building at 290 Broadway, which holds an interpretive center on the first floor for the burial ground. The center features 5 public artworks commissioned and funded by the General Services Administration. "Unearthed" by Frank Bender, sculptor and forensic artist, is a bronze sculpture inspired by three of the individuals removed from the burial ground. "America Song" by Clyde Lynds is a sculpture composed of granite, concrete and fiber optics, and features an Indian headdress and feathers. At night, the sculpture is illuminated by the fiber optics.

Seven aluminum sculptures depicting digitally printed images of the Earth, celestial objects and alien-like terrestrial organisms transform the Park into a makeshift scientific laboratory. The enlarged images on each sculpture, captured using microscopes that can magnify an organism by 10,000 times and by satellites orbiting the Earth, invite the public to reimagine the ways in which Earth is perceived.

Three distinctive interactive dance performances have been created and choreographed by Elisa Monte Dance for each Summer Streets Saturdays for event participants to enjoy at 11 am.