Just a few of the incredible art pieces at the Sydney and Walda Besthoff Sculpture Garden (February 6, 2026)

The "stacked man" sculpture "Karma," created by renowned South Korean artist Do Ho Suh in 2011, stands 23 feet (7 meters) tall and is crafted from brushed stainless steel. It features 98 human figures sitting on each other's shoulders, with each consecutive person reaching down to cover the eyes of the figure directly beneath them. The figures diminish in size as they ascend, creating a dramatic optical illusion of infinite height reaching toward the sky.
 

Otis and P. Tom are looking for alligators. The sculpture garden on the grounds of the New Orleans Museum of Art contains almost 12 acres of landscaped grounds, lagoons, live oaks, and walking paths to nearly 100 modern and contemporary sculptures by international and local artists. The sculpture garden is free and open to the public.

 "Travelin' Light," created by artist Alison Saar, is the bronze figure of a man hanging upside down from a chain. The sculpture also functions as a bell--pulling a cord releases a deep, resonant gong sound. Otis is in the background, still searching for an alligator.

The famous Blue Dog sculptures in and around New Orleans were created by the late Louisiana artist George Rodrigue, inspired by the Cajun loup-garou (werewolf) legend.

"Mother and Child" by the renowned Colombian artist Fernando Botero, is a large, voluminous bronze sculpture depicting a full-figured woman holding a baby/child. In Botero's signature style, the figures feature exaggerated proportions and monumental volume. The large female figure standing or positioned over/on top of a smaller-scale male figure leads to diverse and conversational interpretations about power dynamics, domestic roles, or family hierarchy.

"The Seated III" by contemporary Kenyan-American artist Wangechi Mutu was created out of bronze in 2019. The sculpture depicts an empowered, celestial-humanoid female figure adorned with coils. It reinterprets the classical carytid (a sculpted female figure traditionally used as an architectural load-bearer), liberating the figure from supportive servitude to assert her own autonomy.