MISSA presents 100 pairs of army boots suspended within a sparse grid. The work creates an unsettling silence, inviting viewers to reflect on war’s invisible consequences, the tension between absence and presence, and the quiet mechanisms of obedience and loss.

Walking to Save Some Sea documents Fran Crowe’s year-long response to ocean plastic pollution. Between 2006–07 she walked 200km of coastline, collecting 46,000 pieces of litter - one square mile’s worth—turning personal action into a call for collective responsibility.

In 1955, Shimamoto’s Please Walk on Here used stable and unstable boards to make participants physically experience risk and instability. Recreated for the 1993 Venice Biennale, it highlighted bodily engagement and precarious perception.

Footprints by Akira Kanayama is a walkable artwork of stenciled shoe prints on vinyl. Spectators walk on or alongside it, creating a “double walker” effect that links bodies, traces, and space, blending physical movement with imaginative engagement.

An industrial handcart with VCRs, lights, a clock, and TV monitors depicts walking as a ritualized, gear-laden activity, showing urban commuters wheeling carts, carrying suitcases, and hauling briefcases amid the city’s daily hustle.

A week of walking with Jackson Hole Art Association inspired an installation exploring refuge, wilderness, migration, and privilege through collective movement, snow cultivators, and surrealist collaboration.

Hill Walker is a video‑sculptural work by Tracy Hanna: a small-scale plaster “mountain” serves as a screen for a looping video of a climber, blending installation and video with an existential reflection on human striving, scale, and the absurdity of repetition.

An installation in Central Park consisting on 7,503 gates with 4.87 meters (16 feet) hight and variable widths, each one holding a saffron colored fabric from the top part of the frame. The gates were installed alongside 37 kilometers (23 miles) of walkways where people were invited to walk by.