The Spirit of Lower Mid-City is a public art installation created collaboratively by artists Monica Rose Kelly and Nik Richard. The project was commissioned by the City of New Orleans’ Percent for Art Program and facilitated by Arts New Orleans. This art walk of (22) laser cut Corten steel panels can be found on the neutral ground across from University Medical Center, on Galvez between Tulane and Canal.

One hundred and forty trees and nine “story posts” were planted on 2.5 acres of open space at Lyon Homes/Henrietta Lacks Village in the Turner Station neighborhood which marked the completion of the first phase of the “Witness Trees” project. The multi-year project aims to make the community more resilient against climate change, provide leadership development opportunities for Turner Station residents, and highlight community stories about Turner Station’s past, present, and future.

Olalekan Jeyifous' installation was inspired by Alexandria’s rich and complicated industrial and merchant history. In its early history, Alexandria evolved from a village of farms and plantations to a prosperous port town. Once home to one of the largest domestic slave markets in the country, Alexandria became a major center for shipping and manufacturing and is now a vibrant urban destination with historic charm. Jeyifous was commissioned to create an original site-specific work inspired by Alexandria. He was selected by a task force and approved by the Alexandria Commission for the Arts.

The City of St. Albert has undertaken many projects since the Downtown Area Redevelopment Plan (DARP) was approved in 2010. One of these projects is the St. Anne Street Realignment which aims to transform the area into a place that encourages gathering and reflects the vitality of downtown St. Albert. Artist Terolenn Mykitiuk was hired by the city to design a feature fence that would be installed along St. Anne Street.

The concept for the fence was inspired by the city's culture, community and vibrancy as well as the goal to promote a place of gathering. The design features elements of the city—events, art, sports, landmarks, flora and the changing seasons. The illustrations are simple and playful, allowing for interpretation and interaction by visitors and members of the community. The illustrations have been laser cut from the fence panels and can be seen interacting with the light surrounding them, creating images with shadows on the sidewalk in the evening.

Six freestanding panels grace the grounds of the Tempe History Museum. The works are created through a pattern of dots on each panel that showcase numerous aspects of Tempe's history. The icons are a set of keys, a baby carriage, an early railroad trestle, a hand pump, the Petersen House and Tempe's iconic Hayden Flourmill. The dots that create the images on each panel are water-jet cut holes that created voids in the material. The dot structure of each piece offers a commentary on the elusive nature of history. The images are both present and ghostlike, creating momentary vignettes of clarity. Images come into focus when viewed from a great distance. Close-up, however, they appear as abstract patterns. Three panels are located along Southern Road, while the other three are within the Library and Museum campus.

Bob Haozous is a contemporary Native artist who challenges internalized views on race and culture. Born in Los Angeles, California in 1943, the son of famous Chiricahua Apache artist, Allan Houser, he studied art at California College of Arts and Crafts in Oakland, California, where he earned a BFA in sculpture in 1971. "Cultural Crossroads of the Americas" raised significant legal questions about the right of the artist to express his creative vision and the contractual rights of the owner of a commissioned artwork. (Note the difference between the work on the top, as it originally looked and the way it stands today on the bottom.)

Arizona artist Mary Lucking merged community needs and history to create a series of elegant public art shade structures for three City of Phoenix Public Transit Park and Rides. With beauty and the comfort of riders in mind, Lucking designed vertical shade panels with seating to address the need to protect riders from the low-angle sun early in the morning and late in the day. Rising 13 feet in height and stretching up to 46 feet along curbside waiting areas, the powder-coated steel arcades of shade double as community landmarks that celebrate the history and features of the surrounding communities. The projects -- fabricated by Magnum Companies -- were commissioned by the Phoenix Office of Arts and Culture Public Art Program with Transit Capital Improvement Program Percent-for-Art funds.