Since the early 1990s I have made sculpture and landscape from what the Victorian garden kept and art history filed under decoration: the birdbath, the gazing globe, the gnome, the terrarium, glittery stuff. This was the garden's domestic side, historically tended by women. In 2026 that line reached two permanent public commissions: a sculpture garden in Helen Gould's landscape at Lyndhurst Mansion, and Caves and Minds, at Crystal Bridges Museum of American Art.

Everything I make is a lantern of some kind: a light carried through the garden at night, so a path can be found.

Exhibitions and Commissions

  • Caves and Minds, Crystal Bridges Museum of American Art, Bentonville, Arkansas

    10' H x 24' W x 2'10" D
    Cast fiberglass, hand-blown glass, specimen crystals
    Permanent commission

    Caves and Minds was commissioned through Art Everywhere, Crystal Bridges’ public art initiative, for one of the museum’s interstitial spaces. It stands near the entrance to the Contemporary American Art Gallery, by the bridge.

    The quartz is from the Ouachita Mountains, one of the clearest deposits in the world. Dozens of clear quartz wands sit inside five hand-blown glass vessels, which in turn sit within a cast fiberglass form holding seven crystal specimens from across the country. These include Wavellite, Dragon Scale Calcite, and a Herkimer diamond still in its dolomite matrix, roughly 500 million years old, from near my family’s land in Upstate New York.

    The room is full of daylight. With Linnaea Tillett Lighting Design Associates, I tested lighting until the fiberglass seemed to hold the light itself, so it washes over glass and crystal rather than hitting them. The precision is there so the piece can be handed over to the afternoon. The crystal came out of the ground. The fiberglass was engineered and cast with fabricators. Both are left to the weather of the room and to whoever walks through.

    At the center, under a lit dome, is a piece of Peacock Ore. It formed in total darkness. Now it sits in a building designed to let the sun in.

  • Caves and Minds detail

  • Paula Hayes Garden, Lyndhurst Mansion, Tarrytown, NY

    Lyndhurst Mansion, Tarrytown, New York, 2025–26
    Pollinator garden, three Gazing Globes, Lyndhurst Purple tinted birdbath, bronze Gnome sculpture

    For the surrounds of the 2025–26 renovation of the Overlook viewing platform at Lyndhurst Mansion, I made a mandala-shaped pollinator garden with three Gazing Globes, a Lyndhurst Purple tinted birdbath, and a bronze Gnome.

    Andrew Moore, a longtime colleague and landscape architect at Quennell Rothschild & Partners, worked with me on the planting plan. The palette leans on native grasses — Blonde Ambition blue grama, Northwind switchgrass, Standing Ovation little bluestem — moving through the mandala in bands, with purple coneflower and bluestar amsonia bringing in the color pollinators are actually looking for, and a low run of white clover underneath.

  • The Paula Hayes Garden, Lyndhurst Mansion, detail with cast resin Birdbath, and Gazing Globe, in the mandala shaped pollinator planting.

    The Gazing Globe and the garden gnome are not ornaments here — they are symbols, inherited from a garden tradition that treats them as kitsch, deployed with the same seriousness as any bronze on a pedestal. The globes are built from cast-off radio parts and repurposed polycarbonate: objects that don't create an image so much as become whatever arrives at them — light, weather, a passerby's reflection, for as long as that thing is there. The bronze Gnome works the dialectic from the other direction: a symbol built for permanence, returned to a place where it will be rained on, walked past, weathered. Both, along with the birdbath, are colored to sit inside the grasses and coneflowers rather than stand apart from them — not camouflage, but tuning sculpture and meadow to the same register.

    Helen Gould planted her own rose garden at Lyndhurst in the early 1900s — a circle of some 500 roses, originally shades of pink only. She was, by the account of those who knew her, devoted to flowers and horticulture. This garden takes up that devotion and answers it from another century, with instruments — the globe, the gnome — that could not have existed for her, and materials she would not have recognized as garden materials at all. It is a continuation of her care for this site, made in a vocabulary only available a hundred years later.

  • Via Láctea, Cristina Grajales Gallery, NYC, 2022

    Paula Hayes and Randy Polumbo- I exhibited Giant Crystal Terrariums, Trapeze Chandeliers, cast bronze pieces, a new project that Cristina Grajales Gallery produced titled Comets, a tinted Birdbath, new woven fiber sculptures, Gnomes, and Gazing Globes.

  • Via Láctea, detail, with my green Trapeze Chandelier, in the foreground

  • Giant Crystal Terrariums at Via Láctea, 60" H x 10" W, hand-blown glass, shredded rubber, glitter, sand substrate, specimen crystals

  • The Campus, Second Annual Exhibition- 2025

    I carefully joined together my cast bronze, aluminum, fiberglass, hand blown glass, and EPDM rubber sculptures with the soil, insects, and wildness in the 1951 modernist upstate NY high school atrium. I got to know the space slowly, and gardened the wild space for the duration of the exhibition (June - October 2025). 

  • Canoes

    Canoes, 2016, Seagram Building, NYC, powder coated aluminum, stainless steel, live planting, lighting

  • Trees For ETs

    Art Omi, The Fields, Ghent, NY, 2008-2013

    The E (exuberant) is for the dogs and children who could see my artwork made for the Terrestrial wanderers.

    The adult humans saw a messy field I think: Uncut grass, freely flopping flowers, sparkles of glittering glass, and blob forms with weeping evergreens and wily vines.

    The affection I feel for freedom to grow as you are is my approach to a garden, with minimal cutting or intervention. It’s not that I don’t plan on doing anything at all, in a lot of ways it’s harder to have this kind of garden. Socially it is, indeed. It’s about timing (intervening minimally at the right time), and paying close attention, being very patient (because you will fail at some things and will need to transform and begin again) and be a deep editor in order to stay committed. I have proven in my life this is all possible.

  • Gazing Globes

    Madison Square Park, NYC, 2015, Polycarbonate, silicone, fiberglass, radio transistor parts, glitter

  • Land Mind

    Lever House, NYC, 2012

    Cast acrylic, salt water aquarium with tropical fish and plants, filtration system. silicone planters tropical planting, recycled rubber flooring

  • Land Mind

    Lever House, NYC, 2012,

    Cast acrylic, salt water aquarium with tropical fish and plants, filtration system. silicone planters tropical planting, recycled rubber flooring

  • Paula Hayes/Solo Exhibition

    Wexner Center For the Arts, Columbus, Ohio, 2011

  • Paula Hayes/Solo Exhibition

    Wexner Center For the Arts, Columbus, Ohio, 2011

  • Wexner Center For the Arts Roof Garden

    2011, sedum, grasses, and evergreen shrubs in planters

  • Nocturne of the Limax Maximus

    Museum of Modern Art, NYC, 2010

    Inspired by the dance of hermaphroditic slugs in the forest at night, two electrically lit plantings encased in curvy plastic pods were cared for in the lobby of the Museum of Modern Art as folks passed through.

  • Understory

    Tang Museum, 2010, Skidmore College, Saratoga Springs, NY

    A series of ten dinners and talks in the museum, set amongst living art works cared by Skidmore students over the course of 10 months.

  • Understory

    Tang Museum, 2010, Skidmore College, Saratoga Springs, NY

  • Spells, 2019-2023

    Notational, 2023, Bill Arning Exhibitions, Kinderhook, NY, John Hatfield, Paula Hayes, Robin Kahn

Artworks

  • Only the Hunted, 2026, Cristina Grajales Gallery, NYC

    Cast resin, 21” H x 14” W x 14” L

    It began with a search for something reflected back to me, the way a mirror does. I was sculpting heads in children’s plastic clay from the local Walmart, chasing expressions under the moonlight, almost obsessively. Plastic like that clay is already turning up in plastiglomerate, the new rock that forms when melted plastic fuses with sand and stone: a future fossil of us, laid down in the earth, writing our story in our wake. So there’s a sweetness to what happened next. The expression was eventually given up, handed to whoever would one day look at the finished form, to whatever point of view arrives: light or shadow, reflection or distortion, the great unknown.

    The original heads were 3D scanned, enlarged, then cast in resin from a mold. What’s left of the facial detail is suggestive now, more like a ghost than a face. Every bit of light or dark that passes through is chance, and chance becomes its own story. A landscape, maybe. Or another soul?

    I think of it as an undefended object. The work doesn’t hold its expression the way the clay once did. It lets whatever arrives finish it, like a chime that never repeats itself and only answers whatever wind shows up. The piece stopped being about what I could carve into a face and became about what light is willing to write there instead.

  • Trapeze Chandeliers at Cristina Grajales Gallery, New York, NY

    Cast Acrylic, stainless steel, wiring

    Shown with 18” diameter rings attachments and bars.

    56” H X 38” W x 43” L

    The Trapeze Chandeliers are inspired by the beauty of trapeze artists, the allure and danger of Datura blossoms, and the kind of light that shimmers away quickly, like aurora borealis, or the first and last light of day.

    The solidity of the lamp defies these kind of feelings, or experiences, so it’s also a kind of paradox about the continuum of living with fleeting feelings, as they are the norm and the rhythm of life.

  • Trapeze Chandelier, Cristina Grajales Gallery

    Cast resin, stainless steel, 43” L x 38” W x 39.5” H

  • Mandala Watercolor 1

    30”H x 20”W , watercolor and gouache on paper, 2026

    I make these glowy maps of my time daily. Iridescent watercolor goes straight onto black cotton paper in a long, meditative process of circling and hovering until the form meets me and rises. On the black, the pigment turns vapor-like and floats, and the sheet becomes depth. Around the translucent discs, opaque gouache builds into a paste: paint laid over light from inside the paint. The circling isn’t repetition; it’s conduction, like my hyper-mobile fascia, the sheath that wraps the muscle and lets the current through.

    The sculptures are the same thought given a body: glass terrariums that look back at you, frosted domes with mirrored interiors, a reflective birdbath in MoMA’s sculpture garden, gazing globes in Madison Square Park and Lyndhurst Mansion’s landscape. My permanent commission Caves and Minds is a cave scaled so a mind can get close enough to look in. I’ve always been building a smaller cave. The sheet is one too.

    The circles are also relationships: rings within the husk, bands outside it, some torn off and still traveling the same orbit. Two people are what each one is, plus everything cast off between them. Nothing is a perfect circle and nothing is an accident. Kepler’s ellipses were circles that had been through something. A perfect circle could only ever be mine. A wobbly one is ours.

    I’m not the first to think this way. Steiner built the Goetheanum with no right angles, watched it burn, and rebuilt it on the same curving plan. Hundertwasser won the right to build windows that sag, and the sagging window lets the weather in. A honeycomb is a mandala with corners; a fairy ring is mycelium reporting its own extent. The circle was never mine to invent.

    The culture wants art fast and legible. These sheets take a week, change with where you stand, and lose their shine under a thumb. Chime is a verb as well as a noun: to be struck, and to answer in tune with something you didn’t make.

  • Green Pond, 2026

    20”H x 24” W, cast fiberglass, cast resin, mirror

  • Giant Crystal Terrariums, Cristina Grajales Gallery

    Giant Crystal Terrariums, 60” H x 12” W, hand-blown glass, shredded rubber, glitter, black sand substrate, specimen crystals

  • Birdbath

    Cast resin, 24" H x 30.5” L x 17.5” W

  • Large Eccentric Silicone Planter

    Cast silicone, 26” H x 38”W

    I’ve been making cast silicone planters since 1999- the Large Eccentric Silicone Planter is my favorite one because it is truly an eccentric form. It changes a space with its personality, and it also feels like part of space immediately.

  • Small Classic Fiberglass Planter

    2025, tinted cast fiberglass

  • Bird Nesting Tree

    Welded aluminum and cast plastic

  • Gnome 4

    Painted cast aluminum in moss planting

  • Crystal Terrarium

    Hand blown glass, substrate, crystals

  • Hills and Clouds

    Handblown glass terrariums on cut rubber flooring

  • Lucid Green

    Artist book in wall mounted cast acrylic case published by Carolina Nitsch

  • Gnomes

    Cast Aluminum and Bronze

  • Gnome

    Cast Bronze

  • Living Terrariums

    Handblown glass and living plants, time

  • MG6

    Handblown glass, living plants, time

Landscapes

  • Klein Landscape

  • Klein Landscape

  • Klein Landscape

  • Klein Landscape

  • Elizabeth Rosen Landscape

  • Elizabeth Rosen Landscape

  • Elizabeth Rosen Landscape

  • Tribeca Rooftop Garden

  • Tribeca Rooftop Garden

  • East Hampton Estate

  • East Hampton Estate

  • East Hampton Estate

  • Beach House

About

Education

1989 MFA, Sculpture, Parsons School of Design, New York, NY

1987 BS, Skidmore College, Saratoga Springs, NY

Permanent Public Commissions

2026

Caves and Minds, Crystal Bridges Museum of American Art, Bentonville, AR. Awarded through the museum's Art Everywhere initiative.

The Paula Hayes Garden, Lyndhurst Mansion, a site of the National Trust for Historic Preservation, Tarrytown, NY. Pollinator garden with Gazing Globes, birdbath, and bronze Gnome. Follows Lyndhurst Flower Show (2019) and Women's Work (2022) at Lyndhurst.

2017

42 Crosby Street Lobby, permanent planted commission, New York, NY

2016

Canoes, permanent planted commission, Seagram Building, New York, NY

2011

Wexner Center for the Arts Roof Garden, Columbus, OH

Solo and Two-Person Exhibitions

Forthcoming 2027 Cristina Grajales Gallery, New York, NY

2022 Via Lactea, Paula Hayes and Randy Polumbo, Cristina Grajales Gallery, New York, NY

2018 Paula Hayes, Aspen Art Museum, Crown Commons, Aspen, CO

2017 Summer Garden, rooftop project, Gagosian Beverly Hills, Beverly Hills, CA

2015 Morning Glory, Salon 94 Bowery, New York, NY

2015 Gazing Globes, Madison Square Park, New York, NY

2014 This Bird Saved Me, Rhona Hoffman Gallery, Chicago, IL

2014 Paula Hayes, OMI International Arts Center, Ghent, NY

2014 Lucid Green, Carolina Nitsch Project Room, New York, NY

2012 Drawings and Objects, Glenn Horowitz Bookseller, East Hampton, NY

2012 Hills, Clouds & Giants, Salon 94, New York, NY

2011 Land Mind, Lever House, New York, NY

2011 Paula Hayes, Wexner Center for the Arts, Columbus, OH

2010 Nocturne of the Limax maximus, The Museum of Modern Art, New York, NY

2010 Understory, The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY

2010 Paula Hayes Domestic, Marianne Boesky Gallery, New York, NY

2009 Excerpts from the Story of Planet Thear, Marianne Boesky Gallery, New York, NY

2008 Paula Hayes, Patricia Low Contemporary, Gstaad, Switzerland

2007 Paula Hayes, Rhona Hoffman Gallery, Chicago, IL

2004 Forest, Salon 94, New York, NY

2000 Paula Hayes and Joseph Grigely, The Suburban, Oak Park, IL

1998 Paula Hayes, Galerie für Landschaftskunst, Hamburg, Germany

1997 Paula Hayes, AC Project Room, New York, NY

1995 Paula Hayes, Eigen + Art, Berlin, Germany

1994 Fawbush Gallery, New York, NY

1992 Fawbush Gallery, New York, NY

Selected Group Exhibitions

2025 The Campus, Second Annual Exhibition, Claverack, New York

2024 Other Realities (Exploring Proximate Mysticisms), Bill Arning Exhibitions, Kinderhook, NY

2023 Kindred Spirits, curated by Becky Hart, Athens Cultural Center, Athens, NY

2023 Notational, with John Hatfield and Robin Kahn, Bill Arning Exhibitions, Kinderhook, NY

2022 Women's Work, curated by Howard Zar, Lyndhurst Mansion, Tarrytown, NY

2020 Cross Pollination: Art and the Environment from the 19th Century to the Contemporary Moment, national traveling exhibition: Thomas Cole National Historic Site, Catskill, NY; Olana State Historic Site, Hudson, NY; The Cummer Museum of Art and Gardens, Jacksonville, FL; Reynolda House Museum of American Art, Winston-Salem, NC; Crystal Bridges Museum of American Art, Bentonville, AR

2019 Lyndhurst Flower Show, Lyndhurst Mansion, Tarrytown, NY

2018 The Future Is Bright, Hudson Yards, New York, NY

2017 Birdbath, The Museum of Modern Art Sculpture Garden, New York, NY

2015 Emanation: Art + Process, WheatonArts and Cultural Center, Millville, NJ

2014 NYC Makers: The MAD Biennial, Museum of Arts and Design, New York, NY

2014 Brucennial 2014, Vito Schnabel and the Bruce High Quality Foundation, New York, NY

2013 David Adjaye, Paula Hayes, Rick Owens, Salon 94, Design Miami/Basel

2013 Trees for ETs, OMI International Arts Center, Ghent, NY (2008–2013)

2013 Emscherkunst 2013, Essen, Germany

2012 Verdant, curated by Lisa Tung, Bakalar Gallery, Massachusetts College of Art and Design, Boston, MA

2012 Glasstress, Berengo Centre for Contemporary Art and Glass, Murano, Venice, Italy

2010 Open Score Variations, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY

2010 (Re)designing Nature, curated by Susanne Witzgall, Künstlerhaus, Vienna, Austria

2009 Spiritus Mundi, eco-art exhibition at the UN Climate Change Conference, Copenhagen, Denmark

2009 Animamix Biennial, Museum of Contemporary Art, Taipei, Taiwan

2008 Something from Nothing, curated by Dan Cameron, Contemporary Arts Center, New Orleans, LA

2008 Mineral Plant Animal, curated by Maggie Trakas, Dosa 818, Los Angeles, CA

2008 Mend, Proteus Gowanus, Brooklyn, NY

2008 The Objects Show, R 20th Century, New York, NY

2006 Garden Improvement, Glyndor Gallery, Wave Hill, Bronx, NY

2006 Garden Paradise, Arsenal Gallery, New York, NY

2006 The Orchid Thief, Sandra Gering Gallery, New York, NY

2006 Design Miami, Miami, FL

2005 Down the Garden Path: The Artist's Garden After Modernism, curated by Valerie Smith, Queens Museum of Art, Queens, NY

2003 Project Room, Ten in One Gallery, New York, NY

2002 Works on Paper, curated by Ron Platt, Weatherspoon Art Museum, University of North Carolina, Greensboro, NC

2002 What's the Use?, curated by Heather Nichol, University of Michigan Museum of Art, Ann Arbor, MI

2001 To the Trade, curated by Bernard Brunon, DiverseWorks, Houston, TX

2001 Project Row Houses, Houston, TX

2000 La Ville / Le Jardin / La Mémoire, Villa Medici, Rome, Italy

1991 Casual Ceremonies, curated by Bill Arning, White Columns, New York, NY

Residencies

2018 First Landscape Artist in Residence, The Baltimore Museum of Art, Baltimore, MD

Publications

2012, Paula Hayes, with Richard D. Marshall. New York: The Monacelli Press. First monograph.

2014, Lucid Green, artist's book in wall-mounted cast acrylic case. Published by Carolina Nitsch

Selected Press and Media

2026

Side of Culture, "History on the Hudson, Lyndhurst Is an Encyclopedia of American Landscape and Architecture," Victoria Larson, October 4, 2026

A Woman's Thing, "Paula Hayes's First Public Garden Is 36 Minutes from Grand Central," September 8, 2026

Forbes, "Tarrytown Through the Eyes of Artist and Landscape Designer Paula Hayes," Shivani Vora, September 4, 2026

Curatory Magazine (online), "Paula Hayes," interview by Anna Lilli Garai, July 8, 2026

River Journal, "Lyndhurst Unveils Paula Hayes Garden Surrounding Restored Hudson River Overlook," 2026

Surface, "Lyndhurst Mansion: The Paula Hayes Garden," May 2026

2024

GardenFit, PBS, Season 2, Episode 6, "Little Worlds with Big Ideas," March 2024

2019

NY1, "Meet a Brooklyn Artist Who Inspired a Terrarium Home Decor Trend," Stephanie Simon, July 1, 2019

2018

Artforum (online), "Paula Hayes Named the Baltimore Museum of Art's First Landscape Artist in Residence," February 21, 2018

Dwell, "Earthly Delights," Julie Lasky, January 2018, pp. 44–49

Landscape Architecture Magazine, "Reviving 'Baltimore's Front Porch'," Kim O'Connell, June 2018, pp. 19–20

Cultured (online), "Artist Paula Hayes' Cultured Commission Is for the Birds," Sarah Roffino, July 20, 2018

Cultured, "Earthly Delights," Summer 2018, p. 216

Vogue Mexico, "Living Creation," Regina Montemayor, August 2018, pp. 162–163

Aspen Daily News, "The Aspen Art Museum Welcomes Birds and a Mini-Meadow," Mitzi Rapkin, May 24, 2018

Artsy, "Terrariums Let Anyone Create a 'Perfect World' in Their Own Apartment," Kate Groetzinger, April 20, 2018

2015

T: The New York Times Style Magazine (online), "Paula Hayes Reimagines a Victorian Totem in Madison Square Park," Julie Baumgardner, February 18, 2015

The Wall Street Journal, "An Enchanted Global Invasion," Ralph Gardner, February 16, 2015, p. A14

Cultured, "Globe Trotter," Julie Baumgardner, February–March 2015, pp. 134–135

Architectural Digest (online), "Two Paula Hayes Exhibitions Open in Manhattan," Hannah Martin, February 19, 2015

2013

ARTnews, "Growing Power," Hilarie M. Sheets, March 2013, pp. 76–81

Frame, "Nature's Networker," Jane Szita, May–June 2013, pp. 82–91

2012

Art in America, "Paula Hayes, Glenn Horowitz Bookseller," Matthew Nichols, October 7, 2012

Garden Design, "Paula Hayes at Lever House," Katie Mendelson, April 2012

Interior Design, "Absolutely Breathtaking," Meghan Edwards, January 2012, p. 171

Home Review (India), "Petite Forests," Mala Bajaj, February 2012, pp. 127–132

2011

The New York Observer, "House and Garden: Paula Hayes Brings the Tropics to Midtown," Andrew Russeth and Sarah Douglas, November 3, 2011

Art Threat, "Engaged Devotion and Care," Amanda McCuaig, November 1, 2011

CBS Sunday Morning, "The Growing Trend of Terrariums," Serena Altschul, January 16, 2011

D Pages (online), November 1, 2011

2010

The New York Times, "Inside Art: Adding Green Space to MoMA with Tropical Terrariums," Carol Vogel, December 3, 2010, p. C26

Artnet, "MoMA at Its Very Best," Charlie Finch, November 18, 2010

The New York Times, "For the Table, Biomorphic Shapes," Penelope Green, May 13, 2010, p. D2

2009

The New York Times, "Art in Review: Paula Hayes," Roberta Smith, July 3, 2009, p. C24

The New York Times, "Love Alters the Landscape," Penelope Green, June 11, 2009, p. D1

New York Magazine, "Hiding from the High Line," Wendy Goodman, August 3, 2009, pp. 38–39

Elle Decor, "Clear Thinking," Jim Shi, October 2009, pp. 151–155

Interior Design, "The Artist's Eye," Meghan Edwards, August 2009, p. 134

Garden Design, "Art: Living Jewel Box," July–August 2009, p. 19

Vogue Living Australia, "Living Canvas," Felicity Loughrey, July–August 2009, pp. 191–194

The New York Times, "Shopping with Ken Smith: An Unexpected Oasis," Elaine Louie, April 23, 2009, p. D4

Verde Es Vida, "Paula Hayes," October 2009, pp. 20–23

Igloo Habitat & Arhitectura, "Agenda: Design," November 2009, p. 22

2008

Tim Richardson, Avant Gardeners: 50 Visionaries of the Contemporary Landscape, Thames & Hudson, pp. 132–137

Sibylle Kramer, 1000 x Landscape Architecture, Verlagshaus Braun

The New York Times Magazine, "Green Anchors," Melissa Feldman, May 2008, p. 24

New York Magazine, "The Deli-Flower Challenge," Kaija Helmetag, June 2, 2008, p. 48

Los Angeles Times, "An Inside Job on Terrariums," Bettijane Levine, January 24, 2008

2007

Town & Country, "Art for a Small Planet," Carol Kino, April 2007, p. 108

The New York Times, "Possessed: The Eye of the Beheld," David Colman, August 26, 2007, p. 8

Dwell, "Terra Ephemera," Amber Bravo, September 2007, pp. 162–169

Architectural Record, "Janelia Farm Research Campus," no. 3, 2007, p. 117

The New York Times Magazine, "Cool and Collected," February 26, 2007, p. 89

2006

House & Garden, "Pushing the Envelope," December 2006, p. 76

Insideout, "A Tale of Three Cities: New York," November 2006, p. 115

Wallpaper, "Hot Picks of the Latest Global Goings-On," September 2006, p. 69

Interior Design, "News Desk," August 2006, p. 60

The Boston Globe, "Glass Houses," Ellen C. Wells, April 6, 2006

Garden Design, "Terrarium Tales," Joanna Fortnam, March 2006, pp. 11–12

Landscapes

2016–2019 18-Acre Coastal Retreat, East Hampton, NY, with COOKFOX Architects. Native meadows, natural pond, dune restoration, green roofs, planted terraces, and commissioned living artworks.

2015–2018 Coastal Retreat, East Hampton, NY

2018 Idaho Landscape, Harrison, ID

2018 Dallas Landscape, Dallas, TX

2018 Kanders Landscape, New York, NY

2017 Lora Reynolds Landscape, Austin, TX

2017 Pariser Garden Planted Installations, New York, NY

2010 Atlantic Ocean Landscape, Phase 4, East Hampton, NY

2010 Multi-Tiered Crystal Garden, Phase 3, New York, NY

2010 David and Monica Zwirner Garden, Montauk, NY

2010 Marianne Boesky Garden, Rooftop Forest, New York, NY

2010 Paula Hayes and Teo Camporeale Tipi Garden, Brooklyn, NY

2009 Treetops Terrace, Moss Garden, New York, NY

2009 Hauser & Wirth Gallery, New York, NY

2009 Private Residence, East Hampton, NY

2009 Bathroom Forest, New York, NY

2009 Ells Garden, New York, NY

2008 W Hotel Landscape, Miami Beach, FL

2008 Multi-Tiered Crystal Garden, New York, NY

2008 Treetops Terrace, New York, NY

2008 Jill Stuart and Ron Curtis Garden, New York, NY

2008 David and Monica Zwirner Garden, New York, NY

2008 Tom and Andrea Bernstein Landscape, East Hampton, NY

2007 Marianne Boesky Garden, Chelsea, New York, NY

2007 Private Residence, East Hampton, NY

2007 Andrea Kerzner Garden, New York, NY

2007 Elizabeth Rosen Landscape, Water Mill, NY

2006 Iris and Jim Marden Garden, New York, NY

2006 Diana and Rafael Viñoly Garden, Miami, FL

2005 David Zwirner Gallery, New York, NY

2005 Zwirner & Wirth Gallery Garden, New York, NY

2005 Lee-Tenenbaum Garden, New York, NY

2005 Historic Morven Museum Landscape, Princeton, NJ (not executed)

2004 Howard Hughes Medical Institute, Janelia Research Campus, Ashburn, VA

2004 Atlantic Ocean Landscape, East Hampton, NY

2004 Mickey and Jeanne Klein Landscape, Santa Fe, NM

2004 David and Monica Zwirner Garden, New York, NY

2004 Cleveland Museum of Art, Cleveland, OH (not executed)

2003 Private Residence, New York, NY

2002 Jeanne Greenberg Rohatyn Garden, New York, NY

2001 Marianne Boesky Nantucket Landscape, Nantucket, MA

2000 Marianne Boesky Garden, New York, NY

2000 Chris and Illya Vroom Garden, New York, NY

2000 Ghost Planting, Galerie für Landschaftskunst, Hamburg, Germany

2000 88 Bleecker Street Lobby, New York, NY

2000 Apple Maze, Bauhaus University, Weimar, Germany

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