The Rearview Walking Sticks combine tree branches and car mirrors to disrupt ordinary walking. Playful yet cumbersome, they make participants reflect on movement, memory, and perception, turning walking through the landscape into a participatory, performative artwork.

Beverly Buchanan’s Marsh Ruins (1981) uses tabby and concrete to evoke southern vernacular architecture, memorializing Black presence in Georgia. The mounds poetically witness history, embracing erosion and impermanence to honor resilience and defiance.

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.

Double Star: Antares (1986–88) by Athena Tacha was a site-specific public sculpture in Cincinnati’s Hyde Park. Featuring 27 brick walls forming two star-like structures, it explored astronomy, spatial form, and landscape, but was later dismantled.

Mirror Labyrinth – NYC is a freestanding mirrored installation with varying-height lamellae forming interconnected curves. Reflecting viewers, surroundings, and Manhattan’s skyline, it creates a disorienting, labyrinth-like experience linking Brooklyn Bridge Park to the cityscape.

Plaza Cisneros revitalized Medellín’s Guayaquil sector through urban renewal and heritage-sensitive design. Its Forest of Light and Shadow—300 light towers—transforms the square into a civic landmark, hosting daily life and major events like the 2018 Medellín Marathon.

Between 1971–1973, Eleanor Antin traveled across California and New York with 100 rubber boots, photographing and sending postcards of 51 staged actions to friends and institutions worldwide. 100 Boots questioned gallery limits and became a narrative journey ending at MoMA.

In 1981, Richard Serra’s Tilted Arc was installed in Federal Plaza, NYC, to engage pedestrians by disrupting the space. Opposed by workers who claimed it obstructed movement, the sculpture was removed in 1989. The controversy led to policy changes and the Visual Artists Rights Act.