St Louis's Counterpublic triennial explores connections between art and civic infrastructure
The third edition of the public-art triennial has expanded to more than 50 projects across Missouri’s largest city
In the post-industrial city of St. Louis, Missouri, the Counterpublic triennial, organized by artists Wanda Nanibush, Raphael Fonseca, Stefanie Hessler, Jordan Carter and Nora N. Khan, delves into the intricate relationship between art and urban infrastructure. This year's iteration, titled 'Coyote Time,' features over 50 commissions spread across both permanent and temporary sites throughout the city and its surroundings.
The works engage with pressing issues such as the city's dwindling public funds, the aftermath of a recent tornado, and the lingering effects of disinvestment.
Among the diverse projects, Anika Todd's "Siren Song" (2026) features watery field recordings of the Mississippi River at Chouteau's Landing, a former industrial warehouse. The installation includes four restored municipal tornado sirens, a poignant reminder of the 2025 tornado that devastated parts of the city and left thousands stranded due to a malfunctioning alarm system.
Timmy Simonds' "Miss Othmar and Othmar Sumner Stowe Teachers Lounge" (2026) comprises pendant flags fashioned from parachutes, showcasing the impact of the tornado on Sumner High School, which remains closed for repairs after the storm damaged its roof and several classrooms. The school is located in the historic Black neighborhood of The Ville.
Glenn Ligon's "Who Builds Anything in This Country?" (2026), a serpentine brick wall sculpture, situates itself between the former enslaved brickmakers' factory and the Mississippi River, reflecting on the labor and displacement that have shaped the city.
Through these and other works, the triennial poses questions about the role of artists in addressing environmental concerns, municipal neglect, structural racism, and class disparities. The artists' collaborative efforts with local organizations reflect the evolving nature of the artist-institution relationship, highlighting the need for a nuanced understanding of the artist's role in contemporary public art.
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