A British Sculptor Challenges American Public Art Norms with a Monumental Statement

In the heart of Manhattan’s Times Square, a bold new public sculpture has ignited conversation and controversy. Towering at 12 feet, the bronze figure depicts a poised Black woman—head held high, arms crossed, her expression contemplative and strong. The work, by British sculptor Thomas J Price, breaks with the long-standing tradition of American monuments venerating historical male figures, typically white and militarized.

This striking piece, titled “Witness”, is part of the ongoing “Art for Change” initiative, which aims to reshape public art narratives by elevating underrepresented voices. Price, known for his explorations of identity, power, and the everyday Black experience, deliberately chose an anonymous subject. By presenting a figure not tied to celebrity or political status, Price redirects attention from fame to humanity, encouraging viewers to see dignity and presence in everyday individuals.

The statue has stirred contrasting reactions. Supporters praise its departure from conventional hero worship and celebrate it as a necessary reimagining of who deserves to occupy public space. Critics, however, question the relevance of a British artist intervening in America’s sociopolitical dialogue and argue that the piece lacks contextual grounding in U.S. history.

Yet, Price remains unfazed. “This is not about making statues of historical figures for the sake of visibility,” he remarked during the unveiling. “It’s about changing the criteria for who we see as monumental—who gets to be seen, full stop.”

The figure’s neutral attire—a simple shirt and pants—rejects stereotypical cultural signifiers, positioning the subject as an individual rather than a symbol. This aesthetic restraint reinforces the work’s emphasis on personhood over narrative, further distinguishing it from traditional statues that aim to tell a clear story or embody specific virtues.

Price’s intervention arrives at a time when public monuments are being widely reconsidered across the United States. In recent years, movements have led to the removal of Confederate statues and prompted calls for greater diversity in public commemoration. Yet the solutions are far from simple. For many cities, the question of who or what to memorialize in the future remains unresolved.

What “Witness” offers is not an answer, but a provocation. It pushes audiences to reflect on representation in public spaces: who is present, who is absent, and why. The lack of a pedestal—Price’s signature approach—places the figure on eye level with viewers. This design decision fosters a sense of intimacy, removing the distance typically associated with monuments and encouraging a more personal connection.

The statue’s location—Times Square—is no accident. Often referred to as the “Crossroads of the World,” it is an iconic and heavily trafficked space. By installing “Witness” here, Price leverages global visibility to broadcast his message on a monumental stage. In this context, the statue becomes both a silent observer and an undeniable presence, insisting on recognition.

Though American audiences may debate its authorship, the impact of “Witness” is undeniable. It marks a significant step in the ongoing redefinition of public art, where monumentality is no longer reserved for generals or statesmen, but extended to reflect a broader, more inclusive vision of society.

As cities across the United States grapple with questions of historical memory and cultural legacy, works like Price’s point toward a future where public monuments not only remember the past, but also reflect the living present.