Four towering bronze sculptures depicting animals in elaborate ceremonial dress now grace the facade of the Metropolitan Museum of Art, marking the latest installation in the museum's prestigious niche commission series. Created by Mississippi Choctaw/Cherokee artist Jeffrey Gibson, the 10-foot sculptures titled "The Animal That Therefore I Am" were installed and officially inaugurated on September 12, drawing both admiration and debate from visitors.

The installation features a deer, coyote, hawk, and squirrel, each adorned with intricate regalia that reflects either their food sources or what remains after death. The bronze squirrel, crowned with an acorn wreath and draped in a turquoise shroud decorated with beaded acorns, gazes over the Upper East Side crowd with striking beady eyes. The hawk wears a bright red cape adorned with beaded feathers, symbolizing strength and communication in Native cultures, while the deer is dressed in detailed, textured material resembling authentic deerskin.

The coyote stands out with its ruby red strawberry necklace and what appears to be a coyote-fur hooded jacket. However, Gibson's artistic vision goes beyond simple clothing – the animals' limbs merge with their garments, with the coyote's paws formed by the hanging pelt trimmed in yellow, and each sculpture's legs taking the shape of gnarled wood, suggesting a fluid transformation between animal and natural forms.

Gibson drew inspiration from Jacques Derrida's 2006 philosophical work of the same name, which explores the complex relationship between humans and animals. The artist collected driftwood from the Hudson River banks near his home to create the original forms, digitally editing them before casting in bronze. The chosen animals hold special significance in Indigenous cultures – a Choctaw legend, for instance, tells of a large squirrel devouring the sun during solar eclipses.

The sculptures represent the sixth commission in The Met's facade niche series, following previous works by renowned artists Lee Bul, Nairy Baghramian, Hew Locke, Carol Bove, and Wangechi Mutu. Each 10-foot bronze occupies its own distinct niche, creating a dialogue between contemporary Indigenous art and the museum's classical architecture.

Visitor reactions have been mixed, reflecting the bold contrast between Gibson's vibrant, modern aesthetic and The Met's traditional neoclassical design. Scott, a 55-year-old visitor from Vancouver, expressed skepticism, stating, "To be honest, they don't fit. I don't think they go with the architecture." His companion Georgia, 25, attributed her discomfort to "the coloring," noting the stark difference between the sculptures' vivid hues and the building's sober tones.

However, other visitors embraced the cultural significance and protective presence of Gibson's guardians. Colorado resident Alison Phommaxahane, 26, praised the work's Indigenous influence, saying, "I love how there's a lot of Indigenous influence. It brings that culture back into the city." Her friend Camille Archer, 28, from New York, noted how "the fabric adds something to the architecture" and observed that the animals appear to be "protecting, or overseeing, or guarding," comparing them to gargoyles.

Gibson's sculptures challenge traditional hierarchies and concepts of time, suggesting that these animals inhabited the land long before The Met's construction. The installation emphasizes the interconnectedness of all living things, merging the animal and vegetal, the natural and artistic, the real and mythical. The works will remain on display through June 9, 2026, continuing The Met's commitment to showcasing contemporary artists who bring fresh perspectives to the historic institution.