Modeled after Roman sculpture, this facade was placed above the southern entrance to Grand Central Station to mark the importance of the railroad. The gods depicted on the facade symbolize power--Hercules and Minerva represent moral and mental strength, and Mercurius is the god of commerce; these gods were an appropriate personification of the importance of the railroad in early 20th century New York City.

The Architects' Building at 101 Park Avenue served as home to many of the designers of New York's early skyscrapers. Each bronze panel is a detailed portrait of a different building designed on this site.

Arthur Carter's giant sculpture, entitled "the Couple," depicts two intertwining oblong circles. Symbolic of wedding bands, the title alludes to unbroken togetherness.

James Garvey's humorous Lariat Seat Loops add both seating and a visual kick to the 33rd St station platform. Their twisting forms refer to lasso tricks in Westerns. Garvey handmade each seat loop in his Harlem forge. An MTA Arts for Transit project.

This sculpture resembles three figures with their arms around each other in an embrace. The forms are almost Cubist in form; the figures are depicted in square, abstract shapes similar to the iconography Picasso used at the turn of the 20th century.

Frederick Ruckstuhl sculpted two figures for the front of the Appellate Division Court. The personifications of Wisdom and Force flank the main entrance of this Beaux-Arts courthouse, built in 1899.

This monument to the Civil War admiral David Glasgow Farragut, who was hailed as a much-needed hero in the Union after seizing New Orleans in 1862 and who was famously quoted as saying, “Damn the Torpedoes!” at the Battle of Mobile Bay two years later, sits inside Madison Square, right about in the middle of the park’s north end. The statue was originally at the park’s northwest corner, facing Fifth Avenue. It was moved a few feet when Fifth Avenue was widened in 1909, and after the park was redesigned in 1934, the monument was moved to its present spot.

Dedicated on June 13, 1899, this monumental bronze portrait of Chester Alan Arthur (1830-1886), the 21st United States President, is by sculptor George Edwin Bissell (1839-1920). This statue was commissioned by the friends of Arthur at a cost of $25,000. The ornamental base of polished black Barre granite was designed by James Brown Lord. The sculpture depicts Arthur standing in a frock coat before an armchair, draped with a rug, and embossed on the back with the presidential seal. Bissell, who studied art in Paris, Rome and Florence, was a prolific sculptor, and operated a marble business in Poughkeepsie, New York. He also sculpted the portrait of mayor Abraham de Peyster, formerly in Bowling Green Park, and now in Hanover Square in lower Manhattan. The Arthur sculpture was repatined by the city monuments crew in 1968, and was conserved again in 1986-87. Sculptures of Arthur’s contemporaries, Roscoe Conkling (1893) and Secretary of State William Seward (1876) may be found at the southeast and southwest corners respectively of Madison Square Park, and Augustus Saint-Gaudens’ fine effigy of Admiral Farragut (1881) stands vigilant on the northern side of the park’s central axis.

Located at the southeast corner of Madison Square Park this forthright, bronze full-standing statue of political figure Roscoe Conkling (1829-1888) is by the distinguished artist John Quincy Adams Ward (1840-1910), and dates to 1893. On March 12, 1888, while on his way to the New York Club at 25th Street, Conkling suffered severe exposure in Union Square, during the famous blizzard which gripped the city on that day. As a result his health rapidly declined, and he died on April 18th, 1888. Five years later friends of Conkling petitioned the Mayor and Park Board to erect a sculpture of him in Union Square. Park officials believed Conkling not of a stature to warrant placement of this work alongside existing sculptures in the park of George Washington, Abraham Lincoln and the Marquis de Lafayette, but granted permission at the present location of the work. Later referred to as “the Dean of American Sculptors,” Ward contributed nine sculptures to the parks of New York, among them Horace Greeley (1890) now in City Hall Park, Alexander Holley (1888) in Washington Square Park, William Earl Dodge (1885), now in Bryant Park, Henry Ward Beecher (1891) in Columbus Park, Brooklyn, and The Indian Hunter (1869), William Shakespeare (1872), The Pilgrim (1885), and the Seventh Regiment Memorial (1874) in Central Park. Ward’s depiction of Conkling is a sensitive and vigorous portrait of him posed, as Conkling’s wife requested, while delivering a speech before the United States Senate. In early December 1893, the eight-foot high, 1,200 pound statue was hoisted onto its granite pedestal, and installed—in deference to the Conkling’s heirs—and installed without any formal ceremony. In the summer of 2000 as part of the redesign and renovation of Madison Square Park the sculpture was relocated 20 feet to a landscaped area, and in 2001 the sculpture was conserved by the Citywide Monuments Conservation Program.

The Garment District Alliance, in partnership with the NYC DOT, has closed two blocks of Broadway in summer 2017 and installed a site-specific work on the temporary pedestrianized street – a 400-foot long “road tattoo,” created by Steed Taylor. The work, called “Sew and Sew,” in reference to the history and current industry in the Garment District, is a part of the NYC DOT’s Artereventions Program. "Sew and Sew" includes the names of Garment District workers who have been active in the neighborhood for at least two decades. Road tattoo is made with high-gloss latex causing them to appear and disappear with passing light. It will be on view until it is worn away by the pedestrian traffic of the newly repurposed public space.

The elegant curves and simplified Art-Deco-like forms of Valerie Jaudon's "Long Division" appealed so much to MTA officials that artist-designed platform railings became commonplace in the subway system. Painted steel. An MTA Arts for Transit project.

Three sculptures, fabricated from painted wood and prismatic glass, create a stage-like setting where choreographers, dancers, musicians and poets, in collaboration with McElheny, present curated performances throughout the exhibition period.