28 interiors+sources may2016 interiorsandsources.com
design issues for NYC streets and initiate a temporary program—and art has
played an important role in many of her solutions. “Similar to how Columbus
Circle has the statue and images of the Santa Maria and boats, art is a com-
munication tool. It identifies a station visually and serves as a landmark,” Feuer
said. “In the 80s, it also communicated that the city cares and trusts.”
Over 26 percent of New York City’s land mass is under DOT jurisdiction,
including 789 bridges and some 6,000 miles of street. “It’s a huge portfolio,
so we want to bring that down and localize it,” she explained. “We see
things like barriers or fences that we don’t just cast off. Artists can do
anything, and everything is a blank canvas, so we see opportunities all
over. And our program is based on community interface.”
Art projects should be compliant with the function the site serves. Engage
stakeholders about goals and ensure they’re onboard with the proposals.
“Starting with an open slate and developing a program from scratch
is really quite an opportunity. You have to respond to the agency’s
priorities,” explained Feuer. “We’ve organized a program that responds
to the developments and contexts, and doesn’t get caught up in long-
When all parties are satisfied and all goals are met, Feuer and all
collaborators are particularly proud of the result. “The reason it’s fulfilling
➤ continued on page 30
LEFT TOP TO BOTTOM Bernar Venet’s “Disorder: 9 Uneven Angles” at
East 17th Street and Broadway in Manhattan. Humps and Bumps"
at Archer Avenue between 153rd and 158th Streets in Queens.
Gabriela Salazar’s “For Closure” at East Tremont Avenue and
Boston Road in the Bronx. Mark Salinas’ “Pedestrian Patterns”
at the 7 Train Murals, Thomson Avenue Bridge in Queens.
Around by Passing
Through” at 2
➤ continued from page 26