Installed on the south side exterior of Philadelphia’s Independence Visitor’s Center, Alison Sky’s “Indelible” is a site-specific, narrative work intended to create awareness about American history that has gone undisclosed.

The commemorative site pays homage to nine documented enslaved persons of African descent who were part of the Washington household, and addresses the topic of slavery in the early history of the United States.

“Religious Liberty” was dedicated on Thanksgiving Day, November 30, 1876, in Fairmount Park and later relocated by the B’nai B’rith in 1984 to a site near the National Museum of American Jewish History and the Liberty Bell.

In this work, commissioned for the entrance of a bank building as part of the Redevelopment Authority’s 1% program, Bailey wanted to link the geometry of the architecture with the park-like setting of nearby Independence Mall.

The National Park Service engaged the Philadelphia architectural firm Venturi, Scott Brown and Associates (formerly Venturi and Rauch) to develop a plan to convert Benjamin Franklin’s properties into a memorial.

Chief Tamanend, with a welcoming outstretched arm, stands atop a turtle while an eagle with a wampum belt in its grasp is perched on his shoulder.

A nine-foot bronze bust with over 1,000 keys worked into the surface that portrays Benjamin Franklin turning to greet a visitor.

The 58-ton Bolt of Lightning refers to the famous experiment in which Franklin flew a kite in an electrical storm.

A 12-ton sculpture at the Federal Reserve Bank building that thrusts from the ground at an implausible, gravity-defying angle.

Considered the world’s largest mobile, Alexander “Sandy” Calder’s White Cascade revolves slowly in the vast atrium of the Federal Reserve Bank.

The 500 square foot sculptural seating arrangement – or “outdoor room” as the artist describes it – is made up of multiple pieces of granite, marble, and red sandstone that form the shape of the infinity symbol and are punctuated at both ends by rectangular columns.

An official project of the bicentennial celebration, Philadelphia’s Museum of African American history and culture opened to the public in 1976, a few days after the unveiling of John Rhoden’s Nesaika.

A tribute to Crispus Attucks, the first American to die in the cause of national independence, the 13 “whispering” bells represent the original 13 colonies.

David von Schlegell’s design features diagonal lines to counter the verticality of the nearby architecture. In basic shape “Voyage of Ulysses” resembles a sail, but its appearance varies from difference perspectives.

Commissioned by the General Service Administration’s Art in Architecture program, this Louise Nevelson sculpture was dedicated during an elaborate reception in January 1976, at the dawn of the bicentennial year.

The copper and stainless steel Milkweed Pod combines a natural image – the release of milkweed into a breeze – with formal, geometric elements.

Peering through her window, partially hidden behind the shade, a woman studies the passersby. Her arms are folded, and she appears to have been standing there for some time.

Joseph A. Bailly’s stone and marble Benjamin Franklin is a tribute to Franklin’s activities as a journalist and a statesman.

The second largest Tiffany mosaic in the world, this mural is composed of hundreds of thousands of glass tesserae in more than 260 color tones, weighing in excess of four tons.