Brandon Stanton, the photographer renowned for the widely acclaimed Humans of New York photo series, has invested the bulk of his savings over the past 15 years into an ambitious new project: a stunning photo installation at Grand Central Terminal. Titled Dear New York, this public installation will take down all advertisements within the significant Manhattan transit hub until October 19, marking a historic first, as noted by Stanton.
Since the summer of 2010, Stanton has captured over 10,000 photographs of New Yorkers as part of what he calls a “photography census.” A selection of these portraits is now showcased throughout the magnificent Grand Concourse of the train station and extends three levels into the subway stops for the S, 7, 4, 5, and 6 lines. Furthermore, Stanton invited 600 public school students to feature images of individuals they wished to honor, while 11 local photographers contributed to an exhibition in Vanderbilt Hall.
Stanton is known for his warm demeanor, making him approachable as he takes photographs and listens to the deep stories behind each individual. On October 8, he was seen navigating through Grand Central’s maze, placing the final custom vinyl photos onto the tiled walls. He paused to smooth out vinyl as he passed, reading a quote that said, “I want to start talking to my family again.”
Initially sharing images and stories from random New Yorkers on Facebook, Stanton’s project has since blossomed into an Instagram account with 12.8 million followers and four New York Times bestselling books. He has reportedly raised $10 million for various charities in New York through his platform.
One of the vinyl panels boldly states, “I am drawing the man who raped me,” while another shows a man lying unattended on the subway floor. Stanton’s portraits are on display throughout the station, including beneath turnstiles, along columns, and illuminated on bright screens at Amtrak boarding areas, culminating in a vibrant projection in Grand Central’s main concourse.
Describing his endeavor as a means to “democratize” art, Stanton expresses his hope that the New York community will engage with the installation, which also features performances by live pianists from Juilliard. He visualizes a participatory element where community members can also use the piano.
“The art will transform and adapt as people engage with it,” Stanton explained.
At Vanderbilt Hall, onlookers included local fashion designer Mary Jaeger, who expressed her joy in witnessing such art. “I don’t come here often, but it’s wonderful to see it,” she remarked to Hyperallergic. “Art and performance are everywhere in New York, transforming every corner into something extraordinary.”
Sabrina Santiago, a local photographer contributing to the Dear New York exhibition, showcases 10 works that highlight “women in the streets—how they express themselves and allow their body language and style to reflect their identity.” She had responded to an open call for street photographers documenting their neighborhoods.
Santiago expressed her admiration for her peers’ interpretations of the project prompt, reflecting their shared aim to capture the essence of New York City.
Stanton’s comprehensive public art project involved negotiating with various institutions and entities. For example, he successfully convinced the owner of Palladino to permit the use of his balcony for projecting images onto the concourse walls.
“I had nightmares thinking he would decline the request, but when I finally met him, he turned out to be incredibly accommodating,” Stanton shared.
Although Stanton has not revealed the total costs of the project, he stated it constituted the majority of his savings since 2010. He had originally aimed to use earnings from his new book, Dear New York (2025), to fund a creative public project, but the expenses exceeded his anticipated earnings, necessitating a withdrawal from his personal funds.
His book serves as a tribute reflecting everything he has learned over the last 15 years regarding photography, storytelling, and the lives of New Yorkers, a theme he continues in the Grand Central project.
