Central Park art installation is a monument to Puerto Rican communities
Edra Soto, “Graft,” 2024. Photo: Nicholas Knight, courtesy of Public Art Fund, NY Presented by Public Art Fund at Doris C. Freedman Plaza, New York City, Sep 5, 2024 – Aug 24, 2025.
Artist Edra Soto’s first large-scale work in New York City pays tribute to the architectural legacy of Puerto Rico. Presented by the Public Art Fund, “Edra Soto: Graft” draws inspiration from rejas, the wrought iron gates often found outside homes in Puerto Rico, and serves as a monument to lower and middle-class Puerto Rican communities. The exhibition will be on view at Doris C. Freedman Plaza in Central Park at 60th Street and 5th Avenue from September 5 through August 24, 2025.
The piece is Soto’s first large-scale public art commission in New York City. Born in Puerto Rico, the artist, curator, and educator has lived and worked in Chicago since 1998.
“Graft” draws inspiration from Puerto Rican architecture to express the complexities of migrating to the United States while maintaining connections to family on the island. This includes a feeling of dislocation that is exacerbated by Puerto Rico’s ambiguous status as an unincorporated territory.
Soto considers her architectural work to be an extension of her identity that can manifest wherever she lives. The series title, “Graft,” pays tribute to this idea.
The sculpture, which consists of red terrazzo concrete and corten steel, features three tables with seats. It centers around rejas made of various forms and materials, representing the original designs of middle-class Puerto Rican homes. One side reflects a home’s exterior, while the other captures the intimate atmosphere inside.
The geometric patterns utilized in “Graft” resemble Caribbean palm leaves, inspired by Yoruba symbols from West Africa which have a significant influence on Puerto Rican design.
Through these design elements, Soto reflects on themes of migration, displacement, and the search for belonging. “Graft” also aims to reveal the true origins of the architectural feature and delve into the cultural memories that often mask the island’s Black heritage as folklore.
“The rejas make perfect sense to me, as an expression of self. They exist and are understood as a formality in art, but they can live in invisibility because they are not meant to be contemplative. As decorative patterns from a common house, they are meant simply to be pleasant enough to be a part of living spaces,” Soto said.
Coming to prominence during the post-war era, rejas serve as protective barriers and establish boundaries. In previous iterations of “Graft,” Soto used metallic adhesives, wood, wrought iron, aluminum, and rough and polished concrete. Through this series, Soto explores how architecture shapes our interactions with the world and how we define what belongs inside or outside.
The exhibition invites spectators into an intimate space that contrasts with the hectic nature of Manhattan. In collaboration with Soto, the Public Art Fund and the Clemente Soto Velez Cultural and Educational Center will host gatherings and domino tournaments—a popular pastime of the Afro-Caribbean diaspora—to activate the exhibition.
“‘Graft’ at Central Park invites viewers to contemplate the resilience of cultural identity, and the diasporic experiences which have infused New York City’s history and present day,” Public Art Fund Senior Curator Melanie Kress, said. “Inspired by homes in Puerto Rico, Soto’s installation will encourage connection in a communal space where people can reflect on their shared histories and celebrate their diverse cultural heritage.”
“Edra Soto: Graft” is curated by Public Art Fund Senior Curator Melanie Kress, with support from Assistant Curator Jenée-Daria Strand and initial development by former Senior Curator Allison Glenn.
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