‘Humans of New York’ Takes Over Grand Central in Vibrant Celebration of Community

‘Humans of New York’ Takes Over Grand Central in Vibrant Celebration of Community

In New York City, one can meet almost any kind of person, varying in race, ethnicity, religion, culture, age, gender, and sexual orientation. Being one of the most culturally diverse cities in the world is exactly why Brandon Stanton founded the beloved Humans of New York in 2010. For the past 15 years, the photographer has cataloged the many faces, personalities, and stories that make New York the juggernaut that it is. Now, Stanton’s project is on view as never before at Grand Central Terminal, thanks to a monumental installation that opened earlier this week.

Aptly titled Dear New York, the exhibition weaves an immersive narrative about urban communities and the various people that constitute them. At the heart of the exhibition is, of course, Stanton’s rich photographic archive, which stands as the largest collection of New York City portraits ever created by a single artist. Throughout, visitors encounter a man bearing a tattooed face; a young girl lying on a skateboard; a couple resting on a beach; a woman with vibrant makeup; and a man who, for 10 years, hosted local parties for lesbians. Each image stands as a sweeping love letter to New York, all gathered together in one of the city’s most iconic landmarks.

“New York is humanity itself. Every type of person is here, and somehow, despite the honking, the yelling, the shoving, we find a way to make it work,” Stanton says of the exhibition. “Dear New York is a living, breathing immersive art installation staged in the one place where the entire city comes together.”

Adding to Dear New York’s unprecedented scale is Grand Central’s own participation. For the first time in living memory, Grand Central and its subway station have both been completely cleared of advertising, repurposing more than 150 digital screens normally reserved for commercials and MTA public announcements. This subway installation was conceived in collaboration with Andrea Trabucco-Campos, a partner of the award-winning independent design studio Pentagram, who has contributed her work pro bono. Even with the most precursory walkthrough, it’s clear that the exhibition sprawls throughout the entirety of Grand Central, whether it be in the form of the 50-foot projections in Grand Central’s Main Concourse or Vanderbilt Hall’s community art showcase featuring emerging New York City artists.

“This installation is especially notable as it is the first time an artist has unified digital displays in both the terminal and subway station below, and the MTA coordinated many corners of our organization to make this happen,” Mary John, MTA’s director of commercial ventures, explained.

Other highlights include over 100 hours of music in collaboration with the Juilliard School, with performances on a grand piano donated by Steinway & Sons. Featured musicians span Juilliard students, faculty, and alumni, and span the school’s classical, jazz, historical performance, and collaborative piano programs.

As Stanton himself says: “Everyone who visits Dear New York will not only see the art, they will become a part of it.”

Dear New York is inspired by Stanton’s new book of the same name, whose proceeds will all be donated to local charities. The exhibition will be on view throughout Grand Central until October 19, 2025.

Dear New York, now on view throughout Grand Central Terminal and its subway station, celebrates the city’s diverse communities through the Humans of New York initiative.

For Dear New York, Grand Central has transformed into the largest New York City art installation in decades.

Brandon Stanton, the creator of Humans of New York, at the “Dear New York” exhibition at Grand Central.

Exhibition Information:
Humans of New York
Dear New York
October 6–19, 2025
Grand Central
89 E 42nd St, New York, NY 10017

Humans of New York: Instagram | Facebook

My Modern Met granted permission to feature photos by Humans of New York and Grand Central.

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