June 2017 and was the site First Lady Michelle Obama brought a Nordic delegation to introduce them to Contemporary American Art. The large net sculpture was part of the museum's Wonder exhibition from November 13, 2015 until July 10, 2016, but was later acquired by the Renwick Gallery for their permanent collection and stayed on view in the Grand Salon until May 21, 2017. Its re-installation in 2020 was lauded by the Washington Post's art critic with the print headline "Paradise Found - Again" (online headline "A hugely popular hit returns to the Renwick"), and it has been extended into 2023. The piece is part of Echelman's Earthtime Series, and 1.8 Renwick was custom designed to fit the space of the Grand Salon. The number in the title referring to the measurement of time the earth's day shortened in response to a shifting of the earth's crust. In addition to the hundred-foot-long piece suspended above the Grand Salon, Echelman designed a 4,000 square foot textile flooring with a pattern which matched the topography of the sculpture above. 1.8 Renwick turned the Grand Salon into one large immersive piece of art. On the floor, furniture was arranged to invite viewers to lie down and get lost in the layers of twine above. Permanent public installations Where We Met Installed in 2016, this monumental aerial net sculpture measures 200 by 130 feet (61 m × 40 m) and is suspended over the Great Lawn of LeBauer City Park in downtown Greensboro, North Carolina. It has been called the largest outdoor art installation in the Southeast. The design is inspired by the city's textile industry and the six railroad lines that intersected there, bringing people together. Impatient Optimist Installed in 2015, Impatient Optimist was commissioned by the Bill and Melinda Gates foundation for their global campus in downtown Seattle that opened in 2011. The netted piece is designed to represent the importance of individuals and connect all of the regional campuses of the foundation across the globe. The structure of the piece is inspired by what Echelman and her team were able to visually represent as "the shape of a day". By taking pictures of the Seattle sky every five minutes for a full 24 hour period, the Studio analyzed the color data of the picture sequence and graphed it radially. This is their shape of a Seattle day. Utilizing pre-programmed lighting sequences,