Park update: The section of the High Line from 16th to 23rd Streets will be closed on March 27 from 7am – 5pm. Visitors may exit at those streets and walk along 10th Avenue to re-enter the park. Stairs and an elevator are available at 23rd Street. At 16th Street, stairs are available.
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Known for his immersive installations, sculptures, and films, Alex Da Corte’s work explores themes of identity, consumerism, and taste, challenging societal norms and reimagining the familiar in unexpected ways. The artist draws from myriad sources, including popular and consumer culture, art history, classical literature, and modern design, seamlessly weaving together disparate elements into cohesive narratives. His adept use of vibrant color and surreal imagery lends a dreamlike quality to his work that captivates viewers and blurs the lines between fantasy and reality.
Da Corte presents a new artwork for the High Line’s 18th Street Billboard, inspired by the Pink Panther, a Friz Freleng creation designed for the animated opening sequence of a 1963 Hollywood comedy that came to embody the film and has evolved, through 60 years of spin-offs and reinventions, into cultural ubiquity. Pink’s durability across many generations has allowed it to sell countless products, from fiberglass insulation foam to artificial sweetener, yet the creature’s essence remains out of reach. With neither master nor peer—and seemingly eternally unbound by the rules of others—Pink represents a certain queer freedom. Da Corte revives Pink as an icon of resistance, supine but poised, wielding a sign of universal protest, brandishing a clear pink purpose. “There is a difference between falling down and laying down,” Da Corte explains. “I call that soft power.” This billboard is an advertisement for the value of such power.
Alex Da Corte (b. 1980, Camden, NJ) is a Venezuelan-American artist. Institutional exhibition highlights include the 20-year retrospective Mr. Remember at the Louisiana Museum of Modern Art, Humlebæk, Denmark (2022–23), the video survey Fresh Hell at the 21st Century Museum of Contemporary Art, Kanazawa, Japan (2023), and the painting survey The Whale at The Modern, Fort Worth, Texas (2025); Glenstone, Potomac, Maryland (2025), the Whitney Biennial Quiet as It’s Kept, New York, New York (2022); the Roof Garden Commission for the Metropolitan Museum of Art, New York, New York (2021); the Biennale di Venezia May You Live in Interesting Times, Venice, Italy, (2019); the 57th Carnegie International, Pittsburgh, Pennsylvania (2019); and solo exhibitions at the Kölnischer Kunstverein, Cologne, Germany (2018); Secession, Vienna, Austria (2016); Art + Practice, Hammer Museum, Los Angeles, California (2016); MASS MoCA, North Adams, Massachusetts (2016); Museum Boijmans van Beuningen, Rotterdam, Netherlands (2015); and the Institute of Contemporary Art, Philadelphia, Pennsylvania (2014, together with Jayson Musson). His work is featured in the collections of major institutions around the world, including the Metropolitan Museum of Art, Guggenheim Museum and Whitney Museum of American Art, New York, New York; the Philadelphia Museum of Art, Philadelphia, Pennsylvania; The Louisiana Museum of Modern Art, Humlebæk, Denmark; the Moderna Museet, Stockholm, Sweden; Glenstone, Potomac, Maryland; and the Fondazione Prada, Milan, Italy. Recent longform critical writing include catalogue essays for the international touring exhibitions Marisol: A Retrospective and Ellsworth Kelly at 100. In 2026, with the Whitney Museum’s Meg Onli, Da Corte will co-curate the first Roy Lichtenstein retrospective in New York in more than 30 years. Da Corte was the 2023 Philip Guston Rome Prize Fellow at the American Academy in Rome. He lives and works in Philadelphia, Pennsylvania.
Lead support for High Line Art comes from Amanda and Don Mullen. Major support is provided by Shelley Fox Aarons and Philip E. Aarons, The Brown Foundation, Inc. of Houston, and Charina Endowment Fund.
High Line Art is supported, in part, with public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, and the New York City Department of Cultural Affairs in partnership with the New York City Council, under the leadership of Speaker Adrienne Adams.