Maya Lin works across art, architecture, and landscape. Documented U.S. installations include Storm King Wavefield, an earth-and-grass work, and Ghost Forest, a temporary installation of dead Atlantic white cedars in Madison Square Park.
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Research notes for project planning
What the project record tells us
Earth-and-grass installation at Storm King
Earthwork measured through bodily movement
Storm King’s collection record dates Wavefield to 2007–08 and describes seven grass-covered waves distributed across an expansive landscape. The forms are tall enough to alter what visitors can see as they move between them. This gives BAP a precedent for discussing scale through the visitor’s body and changing horizon, rather than through dimensions alone. A landscape proposal could be reviewed through sections and walking sequences that show when nearby features disappear, when views reopen, and how a visitor understands the larger arrangement.
How would a walking sequence communicate changes in enclosure and horizon across the work?
Big Art Partners planning prompt
Conservation and visitor access for a living earthwork
Living material changes the access plan
Storm King’s conservation page explains that foot traffic, rain, erosion, and soil compaction affect Wavefield, and that periods of rest help protect its grass and sculpted forms. This is valuable operational evidence for a landscape art brief: public access can influence the survival of the work’s shape. BAP could use the example to discuss how intended participation is balanced with recovery periods, how visitors learn about temporary restrictions, and which grounds staff or conservators can recognize when the work needs intervention.
What maintenance signals would trigger a rest period, and how would that be communicated to visitors?
Big Art Partners planning prompt
Temporary environmental installation in an urban park
A temporary forest with documented provenance
Ghost Forest brought 49 dead Atlantic white cedars into Madison Square Park in 2021. Lin’s studio links the trees to a New Jersey Pine Barrens source and describes a soundscape referencing Manhattan’s historical animal life. The contrast between dead trees and a living urban park carried the project’s environmental meaning. For BAP, the precedent suggests that material provenance and interpretive sound can be central to selection. The source’s future planting intentions should be evaluated separately from the documented installation itself.
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