Here Commissioned by the Greenway Conservancy's Public Art Program, As If It Were Already Here was suspended over the Rose Kennedy Greenway in Boston, MA from May through October 2015. The netted sculpture was 245 feet long and tethered to surrounding skyscrapers. The piece's design represented the history of the space that it was suspended across. Three voids in the sculpture recalled the history of the "Tri-Mountain" which once existed in its spot but was flattened in the 18th century to allow for more flat land near the harbor. Six colorful stripes across the piece represented the six lanes of traffic of the highway that used to occupy the space of the greenway before the infamous "Big-Dig" that relocated the highway underground. In 2023, the Boston Society of Architects awarded the work its Harleston Parker Medal, which recognizes “the most beautiful piece of architecture, building, monument, or structure built in the metropolitan Boston area in the past 10 years”. Skies Painted with Unnumbered Sparks An aerial sculpture created for the TED (Technology, Entertainment, Design) conference's 30th anniversary in March 2014, suspended between the Vancouver Convention Centre and a 30-story building. For this piece, Echelman collaborated with the Google Creative Lab's Creative Director of the Data Arts team, Aaron Koblin. The sculpture spanned 745 feet across the Vancouver sky. Viewers were able to connect to the lighting program and interact with the monumental netted sculpture with their smartphones. The Space Between Us Echelman was commissioned to build one of her famous aerial net sculptures for a special one-night-only light festival, GLOW, in Santa Monica on the night of September 28, 2013. The sculpture included shaped beach and an audio program to fully immerse visitors in the piece. Viewers were able to experience a different world when they stepped inside the world that Echelman and her sculpture created. More than 150,000 people attended and experienced the sculpture during the one night of the festival. The New York Times credited Echelman's work for "giving crafts a coolly conceptual edge." The experience of creating this sculpture marked a point of change for Echelman. "The beach is the charged zone between human society and uncontrolled nature," she said. "I'm interested in sculpting earth and sky, and placing ourselves in between. It's the collision of heaviness and lightness, between our gravity-bound bodies which walk on sand, and the part of us which seeks to float in