This architectural glass sculpture by Mags Harries and Lajos Héder interacts with the shifting sunlight, creating an ever-changing choreography of light and color.

Inspired by Taiwan’s reflexology footpaths, this temporary installation for The Oval invites visitors to embark on a tactile and meditative experience by removing their shoes and traversing an undulating surface of rounded stones.

These commemorative banners at 13th and Locust Streets by Xenobia Bailey feature a mid-1800s daguerreotype of a Black man collaged with crocheted gold embellishments. A project of the Association for Public Art in partnership with the Historical Society of Pennsylvania, this marks Bailey’s first public art installation in Philadelphia.

Known for her intricate works in the medium of pop-up books and paper art, Colette Fu created a series of square tunnel books that memorialize the Free Library’s historic stacks.

Originally commissioned and presented by Socrates Sculpture Park in New York, “Steel Bodies” is the first contemporary public art exhibition at the Ellen Phillips Samuel Memorial, and Maren Hassinger’s first outdoor sculpture exhibition in Philadelphia. Ten large-scale metal vessel sculptures have been installed throughout the memorial, juxtaposed against the existing figurative artworks and landscape.

Hopping along a walkway in Society Hill since 1972, these stainless steel kangaroos are one of the many metal sculptures throughout the Philadelphia region by Harold Kimmelman.

Carl Paul Jennewein was a classical sculptor who was particularly interested in combining sculpture with architecture. His sculptures for the north pediment of the Philadelphia Museum of Art draw their content and technique from ancient Greece.

“Mad Anthony” Wayne, Pennsylvania’s foremost military hero of the Revolutionary War, led the bayonet attack on the fort of Stony Point and played a major role in the battles of Brandywine and Germantown and the siege of Yorktown.

The copper and stainless steel Milkweed Pod combines a natural image – the release of milkweed into a breeze – with formal, geometric elements.

The Sardinian artist Constantino Nivola was building sand castles with his children on a Long Island beach when he conceived a new kind of sculpture: bas-reliefs that would be molded in damp sand and then cast in concrete.