This fragment was given to the Hugh L. Carey Battery Park City Authority, by the German Consulate, in recognition of the 15th anniversary of the fall of the Berlin Wall, and the Authority's commitment to education through the display of public art. Erected by the East German regime, the Berlin Wall for almost thirty years helped to hold millions of people captive under communism.On November 9, 1989 the Wall was finally brought down by the yearning of the people of East Germany to live free. This segment once stood in downtown Berlin in the area between Potsdamer Platz and Leipziger Platz. It was part of the inner wall designed to prevent East Germans from escaping. Today, it stands as a powerful symbol of the strength of democracy - teaching and inspiring all who visit Kowsky Plaza of the importance of freedom.

Kowsky Plaza

Berlin Wall

This bronze plaque, dedicated in 1955, is a memorial to the poet and patriot Emma Lazarus, who famously penned the sonnet "The New Colossus" that is inscribed on the base of the Statue of Liberty.Not like the brazen giant of Greek fame, with conquering limbs astride from land to land. Here at our sea-washed, sunset gates shall stand a mighty woman with a torch, whose flame is the imprisoned lightning, and her name Mother of exiles, from her beacon-hand glows world-wide welcome; her mild eyes command the air-bridged harbor that twin cities frame. "Keep ancient lands, your storied pomp!" cries she with silent lips, "Give me your tired, your poor, your huddled masses yearning to breathe free. The wretched refuse of your teeming shore send these, the homeless, tempest-tost to me. I lift my lamp beside the golden door!

 Author of the New Colossus, the sonnet inscribed on the Statue of Liberty the New Colossus. Not like the brazen giant of Greek fame, with conquering limbs astride from land to land. Here at our sea-washed, sunset gates shall stand a mighty woman with a torch, whose flame is the imprisoned lightning, and her name Mother of exiles, from her beacon-hand glows world-wide welcome; her mild eyes command the air-bridged harbor that twin cities frame. "Keep ancient lands, your storied pomp!" cries she with silent lips, "Give me your tired, your poor, your huddled masses yearning to breathe free. The wretched refuse of your teeming shore send these, the homeless, tempest-tost to me. I lift my lamp beside the golden door!"&amp;nbsp; Presented by the Federation of Jewish Women's Organizations, inc. the occasion of the American Jewish tercentenary this foundation stone is the gift of the state of Israel&amp;nbsp;  

Emma Lazarus Memorial

 SeaGlass Carousel demonstrates an innovative collaboration of art and design to create a distinctly contemporary, ecologically themed environment for The Battery in Lower Manhattan. Inspired by the ocean's beauty and The Battery`s history as the first home of the New York Aquarium, SeaGlass is an aquatic carousel, featuring huge fish rather than the usual horses and chariots. The project transforms the traditional ride structure into an instrument of the future, employing underground mechanisms to eliminate the need for a center post - allowing clear views across the pavilion and into the park's lush gardens and landscape. In addition, unlike traditional carousels, SeaGlass riders sit inside the figures. This design makes the rider feel a part of the fish--even &ldquo;becoming&rdquo; the fish. The scale of the figures, from 6 feet to 13 feet high, adds to the wonder and grandeur of the experience. 

SeaGlass Carousel

 The Upper Room is a collonaded court marking the entrance to the Esplanade at Albany Street. This self-contained sculptural environment suggests a contemporary re-imagining of an ancient Egyptian temple. Inside, it features a long table adorned with chess boards, twelve stools, and an altar-like pergola sheltering an iconic palm tree. 

Offering stylized sanctuary from the surrounding city&amp;nbsp;  

Designed to be both functional and symbolic, The Upper Room lends an appealing air of ceremony, harmony, and mystery to its site.   the Battery Park City Parks Conservancy

recalling a fusion of decorative palm trees and Near Eastern architecture.  

The Upper Room

 Dorothea Basile, Contemporary art historian at the Battery Park City shares some thoughts about Ned Smyth's design. Meant to highlight the moment when street meets park, the open air court is inspired by the architecture of ancient civilizations. It steps down into the River and can be thought of as a window onto the river. She talks about the sculptural and architectural elements choice of materials. 

 The sculpture of Ulysses dons a helmet-mask, which simultaneously shows and hides weakness and strength in the hero. 

which hides and reveals weakness and complexity in the face of the warrior-hero  

 The dark mask, a chameleon-like piece of armor, resounds with aggressiveness and outrageous pride.  

 As well as the geometry of dance and the unrelenting thirst for knowledge.  

Battery Park City

Ulysses

 Resting directly on the ground a calculated distance from each other, the two eyes occupy considerable volumes of space between and around them which the viewer is invited to fill in with his or her own imagination, since the eyes are separated from any suggested surrounding physiognomy. Carved in granite, the pupils are not inset but suggested by large polished nodules and an integral part of the whole granite "eyeball."  

  the Battery Park City Parks Conservancy

Robert F. Wagner, Jr. Park

The Eyes

 Originally a piece called Welcoming Hands was designed for this site. It was installed. There were a lot of concerns about the sculpture; it was relocated and then replaced with Eyes. Dorothea Basile talks about this and some of the other inspirations behind Louis eBourgeois' work. 

 Porphyrios's Pavilion is a classical structure that provides a cool place for shade, picnics or rest. It has Doric columns and flat roof; the park and river are on one side and the monolithic glass and steel apartment buildings on the other. According to the Battery Park's website, "The Pavilion acts not only as a waypoint, but perhaps as a metaphorical stepping stone on mankind's journey from primitive to modern." 

The park and river are on one side and the monolithic glass and steel apartment buildings are on the other.   the Battery Park City Parks Conservancy

The Pavilion

 Dorothea Basile talks about the design of the structure at the edge of Rockefeller Park by Architect Demetri Porphyrios. She talks about how it marks the intersection between the worlds of work and leisure. The building was designed in the post modern Architectural Style prevalent at the time which juxtaposed and reinterpreted many historical and modern forms. 

 This ensemble of a shrunken street lamp, circular elements, and a throne-like seat is made of granite and a pair of slatted wood deck chairs. This piece is an eccentric public recreation deck that marks a witty reflection of their urban environment. 

Sitting / Stance

 Sitting Stance is about transforming furniture into art, a process that Richard Arshwager undertakes by changing the scale of the pieces. Dorothea Basile talks about the blurred line between the art object and the functional nature of furniture itself. 

Located on the playground of PS/IS 89, the colors and patterns of the mosaic panels are based upon characters of children's stories- the blue and white checkered dress of Dorothy from the Wizard of Oz, the black jumper of Eloise, the red and white of Cat in the Hat, the pink striped belly of Piglet and others. Parents and children alike have read these stories countless times and consciously (or unconsciously) the colors and patterns of these characters have become etched into their imaginations. The abstract designs become illustrations on a large and exaggerated scale full of mystery, exuberance and playfulness.The stories are - Cat In the Hat, Little Prince, Bert, Dorothy, Piglet, Eloise, Harry

Located on the playground of Public School 89

Story Pattern

 This granite retaining wall is an honor roll names of policemen who died while active members of the New York city Police Department. The monument includes a fountain and a reflecting pool. 

Police Memorial

 Resonating Bodies consists of a pair of bronze sculptures resembling giant musical instruments, one resembling a lute and the other a tuba. The sculpture is based on the idea that all physical bodies--including ourselves--are constantly enveloped by various energy forms from heat, light, sound, and gravity to magnetic waves and x-waves. It reflects these forces with a wave-like relief on its surfaces, and invites touching and interaction. 

In front of the Museum of Jewish Heritage. he work is set on the ground at the end of the tree-lined walks at the entrance to Robert F. Wagner, Jr. Park.

Robert F. Wagner Jr. Park, Battery Park

Resonating Bodies

 Taking over its corner of the park with gleeful abandon, Tom Otterness' whimsical sculptural installation entitled The Real World is one of New York's most popular public artworks. Cast in bronze, the sculptures feature Otterness' signature cartoonish figures: animals and people, banks and robbers, laborers and pilgrims, predators and prey, all rubbing shoulders in his delightfully loopy narrative world. There is an entire bustling society in miniature including frogs wrestling over a moat, a tilting tower and diminutive workers rolling giant pennies toward a multi-armed idol. Scattered nearby are a giant fist and feet and a bulbous-nosed creature seated on a bench pondering a bound animal that may be his next meal. Even as Otterness' characters erect their monuments and enact their wile, they remain oblivious to the giant viewer. Mixing levity and discord, biology and social commentary, Otterness' fanciful world is always vividly entertaining. 

The Real World

 Tom Otterness favorite subject is power, politics and money. The Real World is no exception as it sits in the shadow of Wall St and the financial center of New York; the sculpture composed of many small bronze vignettes conveys some of the complexity and playfulness of of this sociopolitical map of NY. 

A Venetian immigrant to the Dutch colony of New Amsterdam and is regarded as the first Italian settler in what is now New York State.&nbsp;Pietro was born on the island of Malamocco in 1608 at the height of Venice’s commercial power. Pietro was a member of the influential and powerful Alberti family and the son of the secretary of the Ducal Treasury, At the end of the Thirty Years’ War (1618 -1648), which resulted in eight million deaths from military engagements, famine and plague, Pietro decided at the age of 27 to seek a new life in the New World.Pietro signed on as a merchant seaman and sailed on July 10, 1634. and arrived in New Amsterdam on June 2, 1635. In the New World, Pietro became Peter. Four years later, he secured the deed of ownership for tobacco land from the Director General and Council of New Amsterdam. In 1642, he married a woman named Judith Manje and had seven children. The family lived in a home on Broad Streetand later moved to Alberti’s plantation property on Long Island (now Fort-Green, Brooklyn). They farmed the 100 acres until Pietro and Judith were killed in an Indian raid on November 9, 1655.

The original plaque of bronze on granite was dedicated in 1959 to the Italian American explorer Peter Caesar Alberti. It has since been stolen.The city of Venice is proud to join the Italian historical society of America in participating in the commemoration of New York State's "Year of history" by contributing this bronze plaque honoring the name of the first Italian immigrant Peter Caesar Alberti native of Venice, who, in the year 1635 settled in what is today known as New York City, in the wall street area, and later in the Fort Greene area of Brooklyn. Placed today, June 2, 1959 by the Italian historical society of American

Replaced by a granite marker on plinth after the original marker was stolen.'Peter Caesar Alberti first Italian settler landed in N.Y. on June 2, 1635 through the efforts of John N. Lacorte founder of the Italian Historical Society of America June 2, has been proclaimed "Alberti Day"

In Honor of Peter Caesar Alberti, First Italian to arrive in New Amsterdam June 2, 1635. &nbsp;Alberti: A Native of Venice settled near the Wall Street area of Manhattan and later in the Fort Green Section of Brooklyn.

Previous Location

Current Location

1st Italian settler in America

 This monument honors the valiant sailors of the Norwegian merchant marines and navy who lost their lives in the cause of the Allies during World War II. Many of the thousands of seamen who served and paid the supreme sacrifice considered New York to be their principal port of call, and during the War used it as a home port. 

Total H: 6' W: 12'; Marker front H: 4" Rear H: 1'2" W: 1'8" D: 1'4"

Battery Park

Norwegian Veterans Monument

The US Marine Corps Flagstaff Memorial erected in honor of the Marines&nbsp;

Photo by NYC Parks Art &amp; Antiquities courtesy of The National War Memorial Registry

Marine Flagstaff

 The Fort George Memorial was dedicated in 1817 to honor one of the bastions that protected the young city's harbors and is the oldest memorial in the park. The small concrete slab has been grown over and rediscovered twice and the fun is in trying to find it. 

Due to the renovation of Battery Park, Fort George marker was removed from this original location.The marker is now completely above ground at a new location, close by the Bowling Green control house near the intersection of State Street and Battery Place.

As the carvings on the block are almost illegible, an interpretive panel has been added alongside.

Fort George Memorial Tablet

 Although they do not have human features, Jim Dine's Ape &amp; Cat exude the sort of civility and tenderness to which many urbanites aspire. Made of cast bronze, the figures are at once amusing, allegorical, and unabashedly romantic. The work derives from a series of Dine's 1990s drawings and sculptures that follow the relationship of this unlikely but adoring couple. Their shared placement along the promenade lends a sense of intimacy, joyousness, and unexpected grace to the site. 

Ape and Cat (At the Dance)

 This is one of a series of pieces of an ape and a cat dancing that Jim Dine was working on at the time instead of a site specific piece like most of the rest of the artwork in Battery Park City. Dorothea Basile talks about that, about Dine's work and the materiality of the clay sculpture that was cast in bronze. 

 Sol LeWitt`s new wall drawing for the expansive atrium is the most dramatic of the commissioned artworks at the Conrad Hotel (formerly the Embassy Suites). LeWitt`s Loopy Doopy (Blue and Purple) takes his wall-drawing to a monumental scale. Rising 13 stories above the atrium level and filling this grand space with vibrant purple and royal blue, LeWitt`s Loopy Doopy gracefully transforms the atrium into a swirling aquarium of twisting color. 

 Estate of Sol LeWitt / ARS. Courtesy Paula Cooper Gallery

Conrad Hotel

Wall Drawing #934 - Loopy Doopy (Blue & Purple)

 Rector Gate is a festive archway marking the intersection of Rector Place and the Hudson River Esplanade. Rising 50 feet high, the gate is inspired by Russian Constructivism and Science Fiction. This artwork brings the romantic grandiosity of New York's early skyscrapers and engineering feats to a human scale. 

Rector Gate

 Dorothy Basile talks about RM Fisher's design for Rector Gate which blends frames the view to Ellis Island. She describes some of the components that make up the gate and the references to technology and navigation that are embodied in it. 

 The monument depicts an inter-racial three-figure group in which two soldiers in fatigues and bearing rifles support a wounded soldier, and is intended to honor those from the Coast Guard who served their country during World War II (1941-1945). Thomas, a non-professional sculptor, was a painter and combat veteran, who studied at the American Academy in Rome and with Paul Manship at the National Academy of Design in New York City. He based his composition on a rescue he had witnessed at the Luzon beachhead. Relying on a sketch which Thomas submitted, the United States Coast Guard, which maintains an administrative facility just south of Battery Park, and which until the late 1990s had a base on Governors Island in New York Harbor, commissioned the sculpture. 

Coast Guard Memorial

 Engraved on the stones are Seamus Heaney's poems from "Death of a Naturalist," and Mark Strand's poetry entitled, "Continuous Life." 

Inscribed Writings:  The Lily Pool

Brookfield Place opened in the renovated former World Financial Center&nbsp;

 Projecting from the glittering vault of the Winter Garden and the base of the World Financial Center to the marina of the North Cove and the Hudson waterfront, World Financial Plaza is the center of Battery Park City. It is also the result of a singular collaboration between artists Siah Armajani and Scott Burton, architect Cesar Pelli, and landscape architect M. Paul Friedberg. From the earliest stages, these individuals joined forces to create a welcoming, celebratory public landscape that would look to the past and future alike. The design spans from th egently curving contour of the cove to Burton's stone seating and the fountains girding the plaza. Wooden benches tucked along tree-lined pathways provide a more secluded setting. Inset into the metal railings overlooking the cove are quotes from poets Walt Whitman and Frank O'Hara celebrating the exhilarating spirit of New York City. At once formal and congenial, World Financial Plaza is an ebullient stage set for New York City at the dawn of the 21st century. 

Jessica Edwards Jessica Edwards

World Financial Center

World Financial Center Plaza

 Curator Dorothea Basile talks about the collaboration between Scott Burton (site furniture), Cesar Pelli (Architect) and M Paul Friedberg (landscape) and Siah Armanjani (artist). It was one of the earliest recent examples in New York City of Artists being involved in the design of of an urban plaza from the beginning. 

These medallions were enlarged and recast from their 1898 originals. The donors were eighteen civic, veterans', and historical associations, under auspices of American Battle Monuments Commission. It commemorates the 75th anniversary of the Battle of Manila Bay. The replica medallions are based on French's originals.

Plaque H: 3'9" W: 2'8" D: 1"; Plinth H: 4' W: 3'4" D: 2'8"

Obverse of medal at top of plaque:THE GIFT OF THE PEOPLE OF THE UNITED STATES TO THE OFFICERS AND MEN OF THE ASIATIC SQUADRON UNDER THE COMMAND OF COMMODORE GEORGE DEWEY D.C. FRENCH 1898&nbsp;Reverse of medal at top of plaque:IN MEMORY OF THE VICTORY OF MANILA BAY MAY 1 1898 U.S.S. OLYMPIA&nbsp;Main text on plaque:THIS MONUMENT ERECTED ON ADMIRAL GEORGE DEWEY PROMENADE TO COMMEMORATE THE 75TH ANNIVERSARY OF THE BATTLE OF MANILA BAY MAY 1, 1898 UNITED SPANISH WAR VETERANS NAVAL ACADEMY ASSOCIATION OF NEW YORK SONS OF THE REVOLUTION IN THE STATE OF NEW YORK SONS OF THE AMERICAN REVOLUTION, NEW YORK CHAPTER NAVAL ORDER OF THE UNITED STATES NAVY LEAGUE OF THE UNITED STATES - NEW YORK COUNCIL NEW YORK STATE SOCIETY OF THE CINCINNATI UNITED STATES NAVAL INSTITUTE THE MILITARY CHAPLAINS ASSOCIATION OF THE UNITED STATES OF AMERICA RESERVE OFFICERS ASSOCIATION OF THE UNITED STATES NAVAL RESERVE ASSOCIATION ROBERT L. HAGUE POST, AMERICAN LEGION CATHOLIC WAR VETERANS, DEPARTMENT OF NEW YORK THE SEAMEN'S BANK FOR SAVINGS PHILIPPINE AMERICAN CHAMBER OF COMMERCE NEW YORK CITY NATIONAL SHRINES ASSOCIATES NAVAL HISTORICAL FOUNDATION BATTERY CASTLE CLINTON MONUMENT ASSOCIATES SPONSORS MAY 1, 1973

Located adjacent to Admiral George Dewey Promenade.

Admiral George Dewey Memorial

 Commissioned by the American Merchant Mariners` Memorial, Inc., this memorial was conceived in 1976. In 1988, after an extensive competition, the artist Marisol Escobar (b. 1930), known as Marisol, was chosen to develop her design. Situated off-shore from the north end of Battery Park and just south of Pier A, the monument stands on a rebuilt stone breakwater in the harbor. The bronze figural group and boat are based on an actual historical event; during World War II, a Nazi U-boat attacked a merchant marine vessel, and while the mariners clung to their sinking vessel, the Germans photographed their victims. Marisol developed a series of studio sketches from this photograph, then fashioned a clay maquette as her winning design proposal for the monument. 

Since the Revolutionary War.&amp;nbsp;In World War II alone it is estimated that 700 American merchant ships were lost, and 6,600 mariners gave their lives in this global conflict.&amp;nbsp;

Marisol captured an unsettling realism, drawn from the faded photograph, but also dependent on the ebb and flow of the harbor&amp;rsquo;s tides.&amp;nbsp;One figure, struggling beside the boat, is submerged each tidal cycle, a technical motif that compounds the work&amp;rsquo;s emotional dynamic.&amp;nbsp;Though specific in its imagery, the monument honors the thousands of merchant mariners who have died at sea in the course of our nation&amp;rsquo;s history.

During World War II, a Nazi U-boat attacked a merchant marine vessel, and while the mariners clung to their sinking vessel, the Germans photographed their victims  

American Merchant Mariners' Memorial

 Jean Parker Phifer, NYC architect and author of Public Art New York, reads a selection on the American Merchant Mariners' Memorial, located in the water just west of The Battery. 

The Castello Plan, titled "Picture of the City of Amsterdam in New Netherland" in Dutch, is an early map of Lower Manhattan's Financial District. Created in 1660 by Jacques Cortelyou, a surveyor in New Amsterdam (which later became New York City), it is now preserved at the New York Public Library. An unknown draughtsman made a copy of the map around 1665-1670. Cartographer Joan Blaeu included it in an atlas sold to Cosimo III de' Medici. The map resurfaced in Italy in 1900 at the Villa di Castello, receiving the name "Castello Plan" in 1916. It is documented in Isaac Newton Phelps Stokes' survey and honored with this monument in Lower Manhattan.

Three-dimensional plaque on natural boulder; nine narrative stones in pavement

A redraft of the 1660's Castello Plan of New Amsterdam, completed in 1916 by John Wolcott Adams and Isaac Newton Phelps Stokes.The Castello Plan created in 1660 shows the early layout of the colony, including 332 buildings. The broad thoroughfare leading north (left to right) on the map below is today’s Broadway. Wall Street got its name from the wall on the right.<a href="https://culturenow.org/people/national-parks-of-new-york-harbor-conservancy?name=National_Parks_of_New_York_Harbor_Conservancy&amp;id=a52f63a6-9f96-47c6-8768-8ac4665891fe&amp;type=organization"> [1]</a>

This is the earliest known map of New Amsterdam, which was later renamed New York, created in 1660 by Jacques Cortelyou, the General Governor of Nieuw Amsterdam at that time. It is the only map dating from the Dutch period of the city's history. The text at the top of the image reads: 'Image of the city Amsterdam in New Netherland.

This is the earliest known map of New Amsterdam, which was later renamed New York, created in 1660 by Jacques Cortelyou, the General Governor of Nieuw Amsterdam at that time. It is the only map dating from the Dutch period of the city's history. The text at the top of the image reads: 'Image of the city Amsterdam in New Netherland. A redraft of the 1660's Castello Plan of New Amsterdam, completed in 1916 by John Wolcott Adams and Isaac Newton Phelps Stokes.

Castello Plan

 This sculpture depicts the Italian explorer and navigator Giovanni da Verrazzano (c. 1485-1528). He is known for being the first European to have entered New York Bay. Verrazzano wrote a journal based on his travels across the ocean. This document later served to help other explorers such as Henry Hudson. 

 At the time of the Hudson-Fulton Celebration of 1909, the Italian community was mobilized by Carlo Barsotti, the editor of the Italian language newspaper&amp;nbsp;Il Progresso, to contribute funds toward the creation of this statue.  

In 1523, with the support of the French king Francois I, as well as Florentine bankers, Verrazzano set sail on the ship&amp;nbsp;Dauphine&amp;nbsp;in search of a passage to the Pacific Ocean and the Far East. On this voyage, Verrazzano explored the coast line now comprising the eastern seaboard of the United States and Canada.

Giovanni da Verrazzano Statue

 Jonathan Kuhn, the Director of Art and Antiquities for NYC Parks, discusses the Giovanni Da Verrazzano in Battery Park. Giovanni Da Verrazzano was one of the first European explorers in New York Bay. After the rise of Italian immigration in the early 20th century, the Italian community decided to raise this sculpture in Battery Park. 

This work is a grove of fifteen cedars with an inscribed horizontal marker in the ivy bed.&nbsp;Inscription:&nbsp;Jerusalem Grove to the people of New York City from the people of Jerusalem&nbsp;Teddy Kollek, Mayor Jerusalem&nbsp;Abraham D. Beame, Mayor New York City&nbsp;July 1976

Jerusalem Grove

This 1903 statue by Jonathan Scott Hartley (1845&ndash;1912) depicts the esteemed Swedish-American engineer and inventor John Ericsson (1803&ndash;1889), who helped to revolutionize military-maritime technology with his ironclad warship, the Monitor.The Monitor was Ericsson`s response to the Confederacy`s intent in early 1861 to ironclad its warship, the Merrimac. Ericsson built the Monitor at the Continental Iron Works foundry in Greenpoint, Brooklyn; its engine and machinery were fabricated in Greenwich Village at the Delamater Iron Works. He died on March 8, 1889, in New York City. Less than four years after his death, the distinguished sculptor Johnathan Scott Hartley was commissioned by the state to create a larger-than-life bronze portrait of Ericsson, which was dedicated April 26, 1893 in Battery Park. The pedestal was designed by architect Frank Wallis.Ten years later the sculptor, dissatisfied with his first version, crafted a modified statue, cast at the local Roman Bronze Works, and dedicated on August 1, 1903, a day after the centennial of Ericsson`s birth. In 1939 a monument to Ericsson and the Monitor was unveiled in McGolrick Park, Brooklyn. The sculpture in Battery Park depicts the bearded Ericsson holding a boat model in his hand. The pedestal features inset bronze bas-reliefs, which illustrate significant naval battles involving the Monitor and Princeton, as well as an array of Ericsson`s mechanical inventions. Over time the monument suffered extensive damage, the result of weathering, vandalism, and even a fire. In 1996 the sculpture was conserved by Parks` monuments crew, and as part of overall improvements to Battery Park, the sculpture is slated to be moved from its present location to a more prominent site near a perimeter entrance.

John Ericsson

 Jonathan Kuhn, Director of Arts and Antiquities of NYC Parks, sheds light on the John Ericsson sculpture in Battery Park. The sculpture depicts Ericsson, a Swedish-American inventor and engineer, who was important in revolutionizing maritime and military technology and travel. 

 Anne Lewison, architect and board member of cultureNOW, reads a selection from the book, Manhattan Outdoor Sculpture, by Margot Gayle and Michele Cohen, about the statue of John Ericsson, noted inventor, by Jonathan Scott Hartley. 

Often considered the&nbsp;'Forgotten War', The memorial, dedicated in 1991, &nbsp;is notable as one of the first Korean War memorials erected in the United States.&nbsp;The artist won an invited competition.&nbsp; After much contemplation about the meaning of war memorials, Mac Adams, the artist decided to&nbsp;create an Anti- War&nbsp;memorial or a "Peace Memorial'.&nbsp; Inspired by a poem that speaks of death as absence and loss, the memorial features a 15-foot-high black granite stele with the shape of a Korean War soldier cut out of the center. Also known as “The Universal Soldier,” the figure forms a silhouette that allows viewers to see through the monument to the Statue of Liberty and Ellis island. At 10 am every July 27th, the anniversary of the time in 1953 in New York when hostilities ended, the sun lines up so as to shine through the memorial and illuminate a commemorative plaque on the ground.One of the three tiers at the base of the monument is decorated with mosaic flags of countries that participated in the United Nations-sponsored mission. The plaza’s paving blocks are inscribed with the numbers of dead, wounded, and missing in action from each of the 22 countries that participated in the war.&nbsp; &nbsp;Almost half a million people were wounded in the war and nearly 140,000 died.&nbsp;&nbsp;

Korean War Memorial (Battery Park)

 An interview with the sculptor Mac Adams, who discusses how he came to design the Korean War Memorial, how the memorial was built, his feelings about war memorials vs. "peace memorials," and the poem that inspired his design. 

 This nearly ten-foot-tall granite stele at the northwest corner of Battery Park by Castle Clinton was designed by noted architect Henry Bacon (1866&ndash;1924). The monument and its gilded inscription commemorates the Walloon Settlers, a group of 32 Belgian Huguenot families who joined the Dutch in 1624 on the ship Nieu Nederland (&ldquo;New Netherland&rdquo;) to colonize New Amsterdam, in what is now called the island of Manhattan. Architect Bacon also designed Washington, D.C.`s Lincoln Memorial (1911-22) and Brooklyn`s Metropolitan Pool (1922). 

 "The piece was dedicated May 20, 1924, the 300th anniversary of the Walloon settlers&amp;rsquo; arrival in New York."  

 "Presented to the CIty of New York by the Conseil Provincial Du Hainaut in memory of the Walloon Settlers who came over to America in the 'Niew Nederland' under the inspiration of Jesse De Forest of Avesnes then county of Hainaut one of the provinces."  

Walloon Settlers Monument

Italian physicist and inventor Guglielmo Marchese Marconi (-1874–1937) carried out the first successful experiments of wireless technology in 1895 in Bologna. For his efforts in the field of wireless telegraphy, Marconi shared the Nobel Prize in physics with Karl Braun in 1909. His invention revolutionized communications worldwide.

This monument was commissioned in 1915 by public subscription under the auspices of the Wireless Operators. Once located near the former harbor barge office, and now situated between the park’s central lawn and the East Coast Memorial, this monument honors those wireless operators who have lost their lives at sea while performing their duties.

Wireless Operators' Fountain

In 1892, the ancient cannon was dug up at Exchange Alley and Broadway during construction.Exchange Alley had been used as the path to British fortifications informally known as “the Oyster Pasty” (1695-1783) likely because of its shape or because of the popularity of Oysters as a delicacy and thus, must have acquired the name Oyster Pasty Lane or Oyster Pasty Alley. In the 1800s, both Garden Street and Oyster Pasty Alley became Exchange Place and Alley.But before it was moved, the cannon was mounted along what is now the sidewalk opposite the Custom House, between the years 1695 and 1783.The cannon was relocated to Battery Park (close to the Bowling Green control station) in 1914, when it was donated to the City of New York by William Henry Mairs and the Children of the City History Club.NOTE: Oysters, in beds in the surrounding rivers and bays of Manhattan and Long Islands, were a prime means of sustenance for the Lenape Indians and then New York City residents for decades after independence. While the British controlled NYC, this was also the case and a common British delicacy is the “pasty,” an empañada-like treat that featured a pastry crust with various meat, cheese or vegetable filling. Thus, “pasties” were consumed by the tonnage in the Manhattan of that era. However, the alley wasn`t directly named for the food. &nbsp;

  Art in the Parks - NYC Department of Parks and Recreation

This ancient cannon was exhumed in 1892 on the site of No. 55 Broadway on the corner of Exchange Alley or the highway leading to the fortification called Oyster Pasty 1695-1783 Presented to the City of New York by William Henry Mairs Placed here by the Children of the City History Club 1914

Perimeter of park on State Street between Bridge and Pearl Streets

Battery Park Cannon

 Together with artist Brian Tolle and landscape architect Gail Wittwer-Laird, 1100 Architect was selected by the Battery Park City Authority to create a memorial commemorating the Great Irish Hunger. On a base of Irish limestone and illuminated glass, the team re-created a rugged landscape comprised of walls with stones from each of Ireland`s 32 counties, abandoned potato fields, and various species of native Irish plants and grasses. From the base`s west side, visitors enter through an ascending passageway that opens into a ruined famine-era cottage. Leaving the cottage, visitors may wander through the fields and overgrown potato furrows. The landscape cantilevers boldly beyond its base, suggesting the courageous journey made by Irish &eacute;migr&eacute;s to America. Within the glass strata of this platform, text is inscribed that recounts the history of the Hunger. 

Passageway connecting the west side to the ruined stone cottage and the roof  Peter Aaron/OTTO.  1100 Architect.

Referred to as&amp;nbsp;An Gorta M&amp;oacute;r&amp;nbsp;in&amp;nbsp;Irish, in which over one million starved to death between 1845 and 1852.  Peter Aaron/OTTO.  1100 Architect.

It opens into a ruined famine-era cottage Peter Aaron/OTTO.  1100 Architect.

Irish Hunger Memorial

 Described as a 'little fragment of Ireland' sitting on top of a thin layer of concrete, Dorthea Basile describes the memorial, its features and the famine it commemorates. 

 Artist Brian Tolle won the competition to design the Hunger Memorial which was supposed to commemorate both the Irish Famine itself and address the larger issue of world hunger. Dorthea Basile tells the story behind the competition. 

 Artist Brian Tolle talks about adding inscriptions to the Memorial which was a requirement of the competition and how he elected to create strata infilled with pieces of glass where the text could be placed behind it or changed some time in the future. He also discussed the court cairns or tomb passages at the great court cairns as the inspiration for the passage he created beneath the hill. 

 Artist Brian Tolle describes the construction of the Memorial, beginning with how he decided to 'live' on the Jobsite. Because it was adjacent to the World Trade Center, he goes on to talk about what happened on September 11th and how it impacted the Memorial. 

 In a piece dedicated to hunger awareness, Artist Brian Tolle talks about his ongoing collaboration with sound artists, hunger organizations, historians and even poets to create changing audio content for the Passage. 

 Jean Parker Phifer, NYC architect and author of Public Art New York, reads a selection on The Irish Hunger Memorial, located at the North End Avenue at Vesey Street. 

 David Piscuskas discusses the conception of the memorial, the significance of its site, and the way in which it commemorates the Great Irish Famine and continuing problem of global hunger worldwide. 

 Artist Brian Tolle describes the process of how he got the commission for the artwork and selected his team and began to conceptualize the design. 

 Artist Brian Tolle explains the design process behind the memorial beginning with a competition between the finalist artists. He felt that a figurative piece was not appropriate. Instead, he decided to create a sculpture where the emphasis is on the land itself in its natural state. He wanted to add an authentic historic structure so he began a search for a suitable farmhouse with a historian. He talks about how he was finally able to find a house built in 1820 which the family lived in through the 1960&rsquo;s in Attymass Parish (where the first official death from the Famine occurred). The house was given as a gift from the family that stayed in Ireland to the family that emigrated from Ireland. 

 Sculptor Luis Sanguino celebrates the diversity of New York City and the struggle of immigrants in this heroic-sized bronze figural group. The sculpture depicts figures of various ethnic groups and eras, including an Eastern European Jew, a freed African slave, a priest, and a worker. The figures` expressive poses emphasize the struggle and toil inherent in the experience of the immigrant or dislocated person. 

1) "Dedicated to the people of all nations who entered America through castle garden in memory of Samuel Rudin 1896-1975 whose parents arrived in America in 1883"2) "Sanguino"

The piece was donated by Samuel Rudin (1896&amp;ndash;1975), who commissioned the sculpture in the early 1970s, intending it to be installed near Castle Clinton as a memorial to his parents, who, as it is noted on the plinth, emigrated to the United States in the late-19th century. Although Rudin died in 1975, Rudin&amp;rsquo;s family took up the campaign to install the sculpture at the park, and it eventually was dedicated on May 4, 1983.  

The Immigrants

Anne Lewison, architect and board member of cultureNOW, reads a selection from the book, Manhattan Outdoor Sculpture, by Margot Gayle and Michele Cohen, about The Immigrants, a sculpture by Luis Sanguino.

This is a monumental granite flagstaff pedestal honoring the first Dutch settlers.West Side: "On the 22nd of April 1625 Amsterdam Chamber of the West Indies Company decreed the establishment and the creation of the adjoining farms the purchase of the Island of Manhattan was accomplished in 1626. Thus was laid the foundation of the City of New York."Front: "In testimony of ancient and unbroken friendship this flagpole is presented to the city of New York by the Dutch People 1926."

 "In testimony of ancient and unbroken friendship this flagpole is presented to the city of New York by the Dutch People 1926."   NYC Department of Parks and Recreation Art in the Parks

 "On the 22nd of April 1625 Amsterdam Chamber of the West Indies Company decreed the establishment and the creation of the adjoining farms the purchase of the Island of Manhattan was accomplished in 1626. Thus was laid the foundation of the City of New York."  

 The same message as the one on the west/left side, but in Dutch   

Netherland Memorial Flagpole

 This monument honors engineer John Wolfe Ambrose (1838&ndash;1899), whose vision and persistence resulted in the deep sea channel to New York harbor, which improved the viability of the port of New York, making New York City the heart of commerce in the United States. The channel is named in his honor. In the 1950s, the monument was relocated to the south wall of the concession building in lower Battery Park, but in November 1990 the head of the statue was stolen. Plans are underway to recreate the sculpture and render the monument more accessible for viewing.

Left side of stele: "Dedicated by the city of New York to John Wolfe Ambrose for whom the Deep Sea Channel is named." Right side of stele: "His vision Scientific knowledge and indefatigable courage aided in making New York the greatest Sea Port of the World"

South side of State Street between Pearl and Water Streets.South wall of building.

John Wolfe Ambrose statue

President John F Kennedy dedicated the East Coast Memorial.&nbsp;

This memorial honors the 4,601 missing American servicemen who lost their lives in the Atlantic Ocean while engaged in combat during World War II. &nbsp;Most of them died during the Battle of the Atlantic where the Allies were trying to protect their shipping lanes from the Germans. &nbsp;The monument consists of a large, paved plaza punctuated by eight massive 19-foot tall gray granite pylons (four each on the southern and northern sides) facing the Statue of Liberty onto which are inscribed the names, rank, organization and state of each of the deceased. &nbsp;On the eastern side of the plaza a monumental bronze eagle, sculpted by Albino Manca and set on a pedestal of polished black granite, grips a laurel wreath over a wave--signifying the act of mourning at the watery grave.&nbsp;

In Battery Park, south end of the park, east of Dewey Promenade

East Coast Memorial

East Coast War Memorial

 Jean Parker Phifer, NYC architect and author of Public Art New York, reads a selection on the East Coast Memorial, commemorating those who perished in the Atlantic Ocean during WWII. 

 The new Stuyvesant building was constructed with the intention of embedding time in its structure. Mnemonics was designed to endow the school with a sense of its own history as well as a sense of the accumulated knowledge and multi-cultural history of the world. Over 400 glass cubes are scattered randomly throughout the entire building, from the main lobby to the tenth floor. Some of the cubes contain artifacts and relics that are evidence of geographical, natural, cultural, and social worlds, including water from the Nile River and a piece of the Great Wall of China. There are also individual glass cubes for each graduating class from 1904-2080, thus weaving Stuyvesant's past, present, and future. The 2003 graduating class chose a chunk of rubble from the first bombing of the World Trade Center, which was located near the school. Mnemonics won the Art Commission Award for Excellence in Design in 1989. 

But more importantly for an institution of learning, a sense of the accumulated knowledge and multi-cultural history of the world.  

Collectively, the 400+ blocks of&amp;nbsp;Mnemonics&amp;nbsp;suggest a visual library of the vast knowledge of humankind.  

An additional 88 empty containers are provided, to be filled by each future class of Stuyvesant graduates up to the year 2080.&amp;nbsp;  

Stuyvesant High School

Mnemonics

 The artists Andrew Ginzel and Kristin Jones talk about their sculpture Mnemonics at Stuyvesant High School. Mnemonics is a series of over 400 hollow glass blocks that echo the architecture of Stuyvesant's new building while engaging the students who pass through the building over the years. The project was sponsored by the New York City Department of Cultural Affairs Percent for Art project and the New York City Board of Education. 

 Teardrop Park is a 1.8-acre public park in lower Manhattan that transcends its small size, shady environment, and mid-block location through bold topography, complex irregular space, and robust plantings. Teardrop's design and construction were coordinated with the development of four surrounding apartment buildings, each ranging from 210 feet to 235 feet in height. In the development of Teardrop Park, sustainability was not merely a goal, but rather an organizing principle that influenced everything from material selection to contractor practices. Based on decades-long research into urban soils and non-toxic plant maintenance, environmental aspects of the park's design include fully organic soils and maintenance regimes that don't rely on pesticides, herbicides, or fungicides. Treated and recycled graywater from the adjacent LEED Gold-rated Solaire Building and stormwater runoff from the site are captured in an underground storage pipe, supplying all of the park's irrigation needs. There are two artworks integrated into the design. Ben Ruben's sound piece 'Mumeration', and Ann Hamilton &amp; Michael Mercil's 'Ice Walls'. These consist of three bluestone sections evoke a sense of geologic flux and transition between present time (now) and past time (then). While recalling a natural history of the Hudson River Valley, these sections might also recall the processes of quarrying, or of masonry. But this stonework neither comes from nor quite belongs to any of those things. And because it was never any other built thing, the stonework is not a ruin. Lift, thrust, fold, fault, drop, scrape, erode&mdash;our rendering of geologic incident at Teardrop Park is not anti-form, but is also not yet, or not quite form. It is a becoming of, or coming to, form that makes real our relation to landscape as well as our relation to art.. Water flowing on it runs down in the summer and forms icicles in winter. 

 masterElizabeth Felicella  Elizabeth Felicella

 Michael Van Valkenburgh Associates, Inc.

Teardrop Park

 Located in the entrance lobby of Stuyvesant High School, Tabula consists of thirty panels of differently colored and stratified pieces of etched marble. The panels are etched with drawings that refer to systems of knowledge, including botany, astronomy, mathematics, language, and exploration. The marble used comes from quarries in Brazil, India, Spain, Africa, Italy, and the United States, creating a "dialogue of matter." Said Stuart, "Tabula is about quest." 

Tabula

The Battery Conservancy was founded to revitalize New York’s birthplace park and its major landmark, Castle Clinton National Monument. The Conservancy designs, builds, maintains, and activates the historic Battery’s 25-acres of public parkland at the southern tip of Manhattan. It partners with the City of New York’s Department of Parks and Recreation and the National Park Service.

Exactly 250 years after New Yorkers toppled King George III statue, experience the story when and where it happened: July 9 at The Battery.On the evening of July 9, 2026—exactly 250 years after New Yorkers toppled the statue of King George III at nearby Bowling Green following the first public reading of the Declaration of Independence—The Battery Conservancy invites you to a special outdoor waterfront screening of the new documentary By George.Gather on the lawns of The Battery, just steps from where this pivotal moment in American history unfolded, for an evening of film, conversation, and reflection on the events that helped shape a nation.The program begins at 8:00 PM with the world premiere of the one-hour documentary, followed by a conversation with Ivan Schwartz of StudioEIS, Abby Suckle of cultureNOW, and director H. Paul Moon.By George tells the remarkable story of July 9, 1776, when New Yorkers gathered downtown to hear the Declaration of Independence read publicly for the first time. In one of the Revolution's earliest and most symbolic acts, the crowd marched to Bowling Green and pulled down the equestrian statue of King George III.The film traces the statue's extraordinary afterlife: its iron was melted down into musket balls to support the revolutionary cause, while the severed head was reportedly smuggled back to England, where it may remain hidden to this day.Set against contemporary conversations about monuments, memory, and public space, By George explores how societies choose to commemorate history and how public symbols shape civic identity. Richly researched and accessible to audiences of all ages, the film combines historical detective work, expert insight, and period-authentic music.This special screening is part of Big Screen at The Battery, a two-week outdoor series of free films, cultural events, and community gatherings presented on a large waterfront screen in New York City's most historic park. The program is also part of The Battery Conservancy's America250 programming, commemorating the nation's 250th anniversary and the central role Lower Manhattan played in the story of American independence.Free and open to the public. Registration is strongly recommended, as seating is limited.For more information about the film and its director H. Paul Moon, visit: https://july9th.com

This monument commemorates the arrival of first Salvation Army unit in New York City in 1880. The monument replaces the 1927 original, since it was stolen in 1942.

Johannes Adam Simon Oertel's 1852–53 depiction of the George III's statue toppling features several ahistorical elements, including the presence of Alexander Hamilton and a fictionalized Native American family.

The Battery - Seaglass Carousel. Across from

By George — Documentary World Premiere | Big Screen at The Battery

H. Paul Moon is a filmmaker whose work concentrates on the performing arts.

Free and open to the public. Registration is strongly recommended, as seating is limited.

RSVP

With Big Screen at The Battery, for two weeks this summer, The Battery becomes Lower Manhattan’s front porch— a place where World Cup fans, movie lovers, families, and visitors come together for free outdoor experiences on the lawn under the stars.&nbsp;From July 5–19, join us on the waterfront for 14 FIFA World Cup matches, outdoor movie nights, live performances, family activities, and special events celebrating New York’s culture and history. Bring a blanket, enjoy food and beverage vendors, and gather picnic-style on the lawn with views of New York Harbor and the Statue of Liberty. All events are free and open to the public. Registration is highly recommended, as capacity is limited.

American Express Company Building

Eleven Tears, designed by landscape architect Ken Smith, honors the 11 American Express employees lost on 9/11. The memorial features an 11-sided, 600-pound quartz “tear” suspended by 11 cables above an 11-sided granite fountain inscribed with each victim’s name and five descriptive words. Water drips like tears over the inscriptions, while a nearby panel shares biographical details. Smith envisioned the design as a metaphor connecting sky and earth.

Lower Manhattan

The Lower Manhattan Cultural Council devised a summer program to revitalize Lower Manhattan after 9/11 by promoting cultural activity and founded the River to River Festival &nbsp;

South Cove Park

 South Cove is an unusual, meditative recess along the waterfront. Considered one of the country's most significant public artworks, the work is the result of a unique collaboration between environmental artist Mary Miss, architect Stanton Eckstut and landscape architect Susan Child. South Cove encompasses everything from- carefully sited rocks, natural plantings, and atmospheric blue lights along the Esplanade -to the water-racked pilings and the large, arching wooden jetty at the southern corner of the cove that extends into the Hudson like a pier. The jetty gently curves inward, back toward shore, as if in meditation of the city from which it sprung. Overlooking the view is a raised metal tower recalling the prow of a boat or the crown of the Statue of Liberty visible beyond. At once dramatic and serene, South Cove is a place where land and water, nature and metropolis, past and present, gently coalesce. 

Pier A is the sole historic pier left in Manhattan. A three-story pier head was added in 1900, an in 1919 a clock was installed in the tower in memorial of the soldiers who died in World War I. The clock was the first WWI memorial in the United States.&nbsp;

Museum of Jewish Heritage, Battery Park City

At the tip of Battery Park&nbsp;is the Museum of Jewish Heritage. &nbsp;Its&nbsp;mission is to educate people about the 20th century Jewish experience before, during, and after the Holocaust. Over 2 million people have visited since it opened in 1997.&nbsp; The Museum's core exhibition combines archival material with modern media to provide a thoughtful and moving chronicle of history, keeping the memory of the past alive and offering hope for the future.&nbsp;

 St. Frances Xavier Cabrini was born in 1850 in what is now the Lombardy region of Italy. She immigrated to the United States in 1889 and went on to found more than 60 schools, hospitals and orphanages. She died in 1917. The sculpture depicts Cabrini with two children &mdash; a boy and girl &mdash; sailing on a paper boat. The girl is a reflection of Cabrini when she was young. She is holding a book in one hand, which symbolizes her commitment to education, while her other hand holds firmly onto the boat, signifying her steadfastness in the face of adversities. The boy depicted holds onto his luggage to face what the future will bring and holds on the other hand a wind instrument invented in Italy, which represents the culture immigrants have brought to America. 

As part of the strategic framework Five Principles for Greenwich South, Market Park proposes an urban amenity above the multi-lane Brooklyn-Battery Tunnel. A hole in the heart of Greenwich South, the tunnel entrance divides the neighborhood, prohibiting safe pedestrian and vehicular traffic, and preventing a natural connection between the World Trade Center 9/11 Memorial and Battery Park. Market Park would transfer unused air rights over the tunnel entry to adjacent buildable sites. By accessibly bridging over the tunnel entry, the park and public market establishes a sense of place and unites the neighborhood.

Canyon of Heroes

Wall Street has been synonymous with American finance - and has defined New York to the rest of the world - since May 17, 1792, when twenty-four brokers convened under a buttonwood tree and agreed to regulate the stock market. Until the exchange itself went public in 2006, members were limited to 1,366 seats, which traded for upward of $1 million each (depending on market conditions, they might be priced higher or lower than the going rate for taxi medallions).By the end of the nineteenth century, trading volume was increasing exponentially. It tripled between 1896 and 1899 alone, then doubled by 1901. To accommodate the growth, the Stock Exchange commissioned a neoclassic headquarters designed by George B. Post, which opened at 18 Broad Street in 1903. The trading floor, half the size of a football field, measured 109 by 140 feet under a 72-foot-high ceiling. The 90-ton pediment, designed by John Quincy Adams Ward (he also sculpted the statue of George Washington across the street at Federal Hall), featured a 22-foot figure flanked by representations of Agriculture and Mining and Science, Industry and Invention, and waves symbolizing the exchange's global maritime scope. It is titled Integrity Protecting the Works of Man. Apparently, integrity was insufficient protection. The weighty marble figures, ravaged by pollution and flaws, were replaced in 1936 by lead-coated replicas.A paper strip running through a stock ticker (the name reflected the sound the machine made) produced ticker tape. Introduced in New York in 1867 by Edward A. Calahan, who worked for the American Telegraph Co., it has been described as the earliest medium of digital electronic communication. It would endure for fully a century, elating and terrifying brokers glued to their tickers around the country and providing fodder for the distinctive confetti that distinguished New York's ticker-tape parades up the Canyon of Heroes in Lower Broadway. The original machines used Morse code; Thomas Edison's ticker, developed in 1869, printed out one alphanumeric character per second. (Nowadays, trading algorithms depend on information flashed in milliseconds.)Arguably, Wall Street's worst moment was Tuesday, October 29, 1929. Shouts of "sell" drowned out the opening bell. In the first half hour alone, three million shares were traded; $2 million in value evaporated. When the market closed at 3:00 P.M. that day, it had lost $14 billion (over $300 billion in today's dollars). A record 16.4 million shares had been traded, recorded on fifteen thousand miles of ticker tape that registered a net loss in the Dow Jones Industrial Average of 12 percent. The last ribbon of ticker tape, which could accommodate 285 words a minute, ran hours late. The final two words, appropriately enough, were "Good Night." The market would not recover to its pre-crash level until 1954.&nbsp;TEXT FROM SAM ROBERTS 101 OBJECTS&nbsp;

 Some of the world's greatest triumphs have been celebrated right here in Lower Manhattan with spectacular ticker-tape parades up Broadway. From moon-walkers to sports stars, from politicians to performers, from war veterans to aviation aces, we have honored the nation's best with these tributes in our skyscraper canyons. As a result, Broadway has long been known as the Canyon of Heroes. The Downtown Alliance has commemorated all 204 of these ticker-tape parades by actually marking the Canyon of Heroes. As we repaved the sidewalks along the entire length of Broadway from the Battery to City Hall, we installed black granite strips at regular intervals in the sidewalks on either side of the roadway. Each strip will be marked in stainless-steel letters with the name and date of each historic parade, from the first ticker-tape parade in 1886 to celebrate the dedication of the Statue of Liberty to the fall 2009 parade to honor the World Series Champions, the New York Yankees. A number of blank strips have been included as place holders for the commemoration of heroics yet to come. 

BIG SCREEN AT THE BATTERY

Register

The celebration of Independence Day has been a long standing tradition in Lower Manhattan from the very first days of the Revolution, and especially following the British military's evacuation in 1783. This year the celebration will begin with a Flag Raising, Cannon Salute to the fifty states at Castle Clinton, followed by a parade through historic downtown.&nbsp;&nbsp;PARTICIPATING ORGANIZATIONS IN THE PARADELower Manhattan Historical Association &nbsp;cultureNOWVeteran Corps of Artillery State of New YorkSons of the RevolutionSM in the State of New York, &nbsp;Inc. &amp; its Color GuardThe American Friends of LafayetteChung Pak Local Development Corp.Colonial Dames of AmericaImmigrant Social Services (ISS) &nbsp;Kiwanis Club for Community Care NYCNational Society Daughters of the American Revolution&nbsp; &nbsp; &nbsp;Col. Benjamin Tallmadge Chapter &nbsp;&nbsp; &nbsp; &nbsp;Fort Greene Chapter&nbsp; &nbsp; &nbsp;Knickerbocker Chapter &nbsp;&nbsp; &nbsp; &nbsp;Manhattan Chapter &nbsp;&nbsp; &nbsp; &nbsp;Mary Washington Colonial Chapter &nbsp;&nbsp; &nbsp; &nbsp;New York City Chapter &nbsp;&nbsp; &nbsp; &nbsp;Peter Minuit Chapter &nbsp;&nbsp; &nbsp; &nbsp;Richmond County ChapterNational Society of the Children of the American RevolutionSons of the American Revolution&nbsp; &nbsp; 1st New York Continental Chapter&nbsp; &nbsp; &nbsp;Battle of Brooklyn ChapterThe American Legion Lt. B. R. Kimlau Chinese Memorial Post 1291The Asian American Bar Association of New York (AABANY)The Old Stone House SocietyUS China Cultural Foundation&nbsp;Reservation: Not Required, Open to the Public

Federal Hall National Memorial

The Lower Manhattan Historical Association ("LMHA") holds a parade through Lower Manhattan every year starting 2015.This parade is part of a resurgence of patriotic activities in Lower Manhattan on July 4, after a long hiatus from 1976 to 2015. It is in recognition of the recent growth of Lower Manhattan as one of the City's fastest growing residential neighborhoods and as one of the City's major centers of historical tourism.The parade, which traverses Wall Street and passes many of the historic monuments in Lower Manhattan - is designed to provide marchers and spectators with an understanding of the tremendous historic importance of Lower Manhattan.

The Battery Conservancy

SITES

PLAYLISTS CURATED by The Battery Conservancy