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In the grandeur of the famous New York church, a crowd of modern-day newcomers—primarily of Latino, Asian, and Black descent—pause on a hillside slope with their humble sacks and bags. An individual in a tee-shirt tenderly carries a child, as a young person in athletic shoes sits solemnly up front. High up among the billowing clouds, the Lamb of God stands on a white altar within the radiant glow of dangling golden lines evoking the presence of God.

This touching and grand tableau forms part of a standout new artistic installation in a currently divided United States.

“My hope is that viewers grasp from this artwork,” states the creator, “is our shared experience and unity. To utilize such a vast canvas for this statement stands as a remarkable opportunity.”

The cathedral, often called the nation’s parish church, caters to approximately 2.5 million local Catholics. It’s one of the two most important cathedrals in the country and sees the highest foot traffic with five million tourists each year. This creation is the most substantial fixed work requested by the institution since its founding.

An Inspiration of Unity

Through the awarded artistic concept, the artwork accomplishes a lasting goal to commemorate the celebrated apparition featuring holy figures including Mary, Joseph, John the Baptist, the Lamb, and angels at a little rural church in Knock, Ireland, in 1879. The creator broadens that tribute to include Irish immigrants of yore along with the city’s diverse migrant history.

The extensive western facade, flanking the cathedral’s main doors, showcases a group of five prominent local Catholics alongside five present-day frontline workers. Over each grouping hovers a monumental angel within a context of luminous lines suggesting the divine.

Recognizing Varied Contributions

For the five west-wall Catholic notables the institution highlighted founder John Hughes, Dorothy Day, the former free spirit turned advocate, and Pierre Toussaint, the once-enslaved individual who rose to prominence as a stylist and donor. The creator incorporated indigenous saint Kateri Tekakwitha, the first Native American canonized, and selected public servant Al Smith from the interwar period. The emergency workers were also the creator’s concept.

The artwork’s approach is clearly realistic—an intentional decision. “Given that this is a domestic piece, rather than European,” the artist explains. “Europeans have hundreds of years of incredible ecclesiastical art, they don’t need to do it that way any more. Yet locally, it’s essential.”

An Effort of Dedication

The massive project engaged approximately three dozen contributors, involving a specialist for the precious metal applications. It took five months to sketch the work in a huge studio in Brooklyn’s Navy Yard, and then most of a year for the intensive artwork—clambering up and down a scaffold to gauge things.

“Since my parent worked in architecture,” he answers. “So I understood how to plan for the space.”

As for the retiring cardinal, he declared at the mural’s presentation: “People inquire if this comments on migration? Well, sure we are, all right? In short, that migrants are blessed beings.”

“Everyone shares this experience,” the artist repeats. “Whether we like it or not,” he notes. Multiple ideological followers are depicted. Plus various beliefs. “But shared humanity means shared humanity,” he maintains. “It extends beyond personal compatibility.”