New York City’s subway system, long known for its eclectic and sometimes quirky advertising, has recently become a canvas for a new kind of art installation aimed at uplifting the daily commuter experience. Susan Bird, the professional name of artist Sue Sarah Gilbert, has launched a public art campaign titled “Love in Transit NYC” that replaces typical commercial advertisements with whimsical, brightly colored illustrations.

Since February, several subway stations including 72nd Street, West Fourth Street, and East 86th Street have been adorned with Bird’s imaginative images. These include depictions such as a pink-sailed clipper ship floating on a cartoon planet, a glowing heart rising above a churning purple sea, and a sky-bound mage riding a seahorse. The campaign also extends beyond the subway’s underground network, including an outdoor installation in Hudson Square and a jumbotron display in Times Square.

Bird, 76, said her motivation was to present art as a “gift” to the public rather than a commercial transaction. She described the project as an effort to offer commuters a respite from the constant barrage of sales-driven messaging. “It was to give people a break from sales and pressure to buy, and sort of the flatness of ads all the time,” she said during a recent visit to the 72nd Street station.

The initiative is notable both for its scope and its funding. Bird, who is a great-granddaughter of John D. Rockefeller Sr., assembled more than $1 million from a group of private investors, described as friends in the finance sector who support the arts. The funding covers the high costs of “station domination” advertising—where all surfaces in a subway station are rented—and related marketing expenses. Such arrangements often exceed $250,000 monthly for a single station’s walls and digital displays.

The Metropolitan Transportation Authority (MTA) approved the campaign, which is scheduled to run through September across five subway stations and includes a mix of billboards, decals on turnstiles, and digital panels. Courtney Richards, a senior manager at Outfront, the MTA’s transit advertising partner, confirmed that Bird’s artwork occupies ad space that otherwise might have been sold to brands in sectors like dating, beauty, and technology.

Although the artwork prominently features the initials “S.B.” and includes QR codes directing viewers to a website encouraging photos with the pieces, Bird herself has maintained a relatively low profile. She visits New York infrequently but felt drawn to the subway as a place to bring an unexpected moment of lightness and joy to commuters navigating a typically stressful environment.

Responses from subway riders have varied. Some passersby remain indifferent, while others pause to appreciate the striking visuals and messages of inclusivity—phrases such as “Be seen” and “I love all of you” appear alongside sun, wizard, and dragon motifs. Alexis Chin, a nearby nurse, described one starry medieval-themed piece as having “a relaxing energy,” preferring it to blank walls or malfunctioning signage.

Bird acknowledges that the project may serve as both a potential capstone to her career or a gateway to future creative opportunities. Regardless, she expressed satisfaction in providing something “not asking for anything” beyond being noticed and enjoyed in the fleeting moments of urban transit.