Known for his LED light installations including the iconic Salesforce Tower, San Francisco-based artist Jim Campbell created a 32-foot high sculpture designed to shape the COMMUNITY space at LUMA and be readable from multiple vantage points inside and outside the hotel. Wanting the sculpture to be activated at all times, Jim was inspired by the Mission Creek Channel running along the property to create a waterfall – a degrading spiral that represents the ceaseless movement of water while evoking a sense of airy weightlessness. At night, human figures are visible slowly climbing the waterfall. | Located on the first floor in COMMUNITY.

Oakland-based artist Adia Millet pays homage to Mission Bay as a longtime refuge for the many birds and water fowl — ducks, geese, herons, egrets, ospreys, gulls, sparrows, pelicans, kingfishers — that continue to coexist with us amidst the changing landscape. Drawing on the shapes, angles, and colors of expanded wings and beaks, she forms an abstracted vision of feathers in movement, suggesting an unfolding playfulness designed to embody a modern vision of nature’s beauty and diversity. | Located on the first floor in COMMUNITY.

"Herbarium" is inspired by the records of Hans Herman Behr, a young physician and naturalist who settled in San Francisco in 1850 and described a vibrant and verdant ecosystem along the edges of the Bay. Composed of fauna endemic to Mission Bay, many of which species may still be found in the persistently wild corners of the city, the sculpture represents the natural history that persists as the urban plan grows and evolves. The bright colors both contrast and complement the architecture of the hotel, while referencing the spectrum of the city — the orange of California poppies and the Golden Gate Bridge, the blues of fog and the Bay, and the yellow of wild yarrow and mustard. | Located outside the hotel, on Channel Street.

In 1800, there were 190,000 acres of tidal marsh around San Francisco Bay — today, less than a quarter remains. Created by Oakland-based creative studio Local Language, “Memory Tides” is inspired by aerial photographs of existing Bay Area wetlands and invites us to reflect on what has come before us and to acknowledge the metaphorical ground of history on which we all stand. | Located on the first floor in GLOW CENTRAL.

The hallucinatory suffusion of color in this large-scale piece was created by infecting a digital photograph of a painting with Skywiper, a computer virus created as part of a joint cyber espionage effort by Israel and the United States. Through randomized striation, artist James Hoff references the inherent disorder of technological communication and the ways in which destruction is often self-inflicted unknowingly by participants within digital networks. | Located on the third floor outside GATHER.

Inspired by Étienne-Jules Marey’s chrono-photography technique, the artist follows the structures of birds’ migration routes during a stay at Nes Artist Residency, Iceland. Her aim is to illuminate our need to grasp a fragile moment. | On view on the video wall in GLOW CENTRAL.

The artist created this artwork inspired by the experience of scanning volcanic outcrops along the coast in Senegal with his Nikon camera. A local man explained to him that by doing so, he was robbing the stones of the spirits within them. The artwork reflects on our culture of extractionism and consumerism: how our need for more products and experiences exhausts the Earth’s natural resources. | On view on the video wall in GLOW CENTRAL.

Inspired by British artist Victor Pasmore’s painting “The Snowstorm” (1950), Thomas Lisle uses advanced cinematic 3D animation techniques to create a living painting that takes shape and dissolves in an endlessly transforming abstract composition. Lisle explores the possibilities of painting in the digital era. | On view on the video wall in GLOW CENTRAL.

The artist created this artwork inspired by the experience of scanning volcanic outcrops along the coast in Senegal with his Nikon camera. A local man explained to him that by doing so, he was robbing the stones of the spirits within them. The artwork reflects on our culture of extractionism and consumerism: how our need for more products and experiences exhausts the Earth’s natural resources. | On view on the video wall in GLOW CENTRAL

A mixture of techniques and technologies combine to make an enigmatic abstract 3-dimensional painting. Hand-painted in 3D with added liquid simulations, this moving and flexible composition draws  on the history of abstract expressionist painting for the 20 and 21st centuries. | On view on the video wall in GLOW CENTRAL

Agah Ağaç/Pensive Tree started as a photographic project when the artist took a few snapshots of a plane tree standing at the entrance of the Süleymaniye Mosque in Istanbul. He later took photographs of a madrone tree in Austin, Texas, and merged the images into an ever-changing, flowing abstract composition that evokes multiple states of matter. | On view at the elevator landings, floors 4-16.

In homage to the classic Atari video game, Surround depicts a series of compositions created by two simultaneously painting algorithms, each represented by complimentary colors. As various interplays between the brushes unfold, palettes blend and interact, expressing the notion of a dialectical relationship that is evolutionary yet seemingly unresolveable. | On view at the elevator landings, floors 4-16.