Sphere is the most technically ambitious entertainment venue ever built. Designed by Populous and opened September 29, 2023 with U2's 40-show residency, it set simultaneous world records for both exterior and interior LED displays. The Exosphere — a shell of 1.2 million LED pucks covering 580,000 square feet — has become one of the most photographed objects in Las Vegas since lighting up for its first public test on July 4, 2023. Visible for miles, it cycles through brand content, art commissions, and cultural events continuously. Inside, a 160,000 square foot LED surface curves up from the event floor, over the audience's heads, and behind the stage, reaching 240 feet at its apex. At 16K resolution with 170 million pixels and a 9mm pixel pitch, it is the highest-resolution LED screen ever built.

The acoustic system is equally unprecedented. 167,000 beamforming speakers distributed throughout the bowl can direct individual beams of sound to multiple locations simultaneously — no seat hears the same sonic environment. Bass is delivered through the floor itself. Ten thousand seats contain haptic transducers. 4D effects including scent and wind are integrated into the show system, all controlled by the same cue stack as the visual content. Abu Dhabi has confirmed a second identical Sphere, with further sites under discussion in Tokyo, Maryland, and elsewhere.

Viva Vision is the world's largest single video screen and has held that record, through multiple technology generations, since the Fremont Street Experience opened in 1995. The canopy covers four city blocks — 1,375 feet of barrel-vault steel structure suspended 90 feet above a pedestrian mall, spanning 130,000 square feet of display surface. The 2019 upgrade by Watchfire Signs was the first significant overhaul in 15 years: 49.3 million LEDs replaced the previous 12 million, resolution quadrupled, and brightness increased sevenfold, allowing the canopy to run in full daylight for the first time since its inception. Before each show, every building along the strip turns off its own lights to maximise contrast, a civic coordination requiring agreement from all casino operators.

Content is produced specifically for the canopy's unusual aspect ratio — roughly 14:1 — which creates storytelling demands entirely unlike any other screen format. The signature show "MIXology," designed around the concept of synesthesia, synchronises music across decades and genres with abstract 3D visuals engineered to feel physically immersive from below. Visitors can ride the SlotZilla zipline underneath the active canopy, experiencing the visuals in motion above them.

Crown Fountain is one of the most technically innovative public artworks of the 21st century, combining video technology with water in a way that had never been done before its 2004 opening: water flowing through a video wall, creating the illusion that the people displayed on screen are spitting at visitors below. Spanish artist Jaume Plensa beat Maya Lin and Robert Venturi for the commission, which was funded privately by the Crown and Goodman families and executed by Krueck & Sexton Architects with water engineering by Crystal Fountains.

The fountain's two 50-foot glass brick towers are a study in layered light: Barco LED video screens face inward across the reflecting pool, displaying close-up portraits of 1,000 Chicagoans filmed by the School of the Art Institute of Chicago; Color Kinetics ColorBlast units inside the towers illuminate the other three glass-brick sides from within; and the overall effect is a tower that appears to glow from inside while video plays on its face. The work was designed to operate for 30 years minimum. Its computer systems were updated in 2014, and Plensa has suggested future generations may wish to add new faces to the video library to reflect how the city changes over time.

The New World Center is the first and only building in the world whose exterior projection wall was designed by the architect as an integral part of the building's function, not added afterwards. Frank Gehry — a childhood friend of NWS co-founder Michael Tilson Thomas — worked with the Symphony's media team from the earliest design stages to ensure the 7,000 square foot projection wall on the building's facade could deliver broadcast-quality live concert video to the adjacent SoundScape Park at the same time as the performance was happening inside. The building is described by Gehry as "a concert hall turned inside out."

The WALLCAST® — NWS's trademarked term for the outdoor live broadcast — has been running continuously since opening night in January 2011. SoundScape Park is funded and owned by the City of Miami Beach, which means the concerts are guaranteed to remain free regardless of the Symphony's finances. Up to 2,000 people gather on the lawn with blankets and picnic dinners for each concert. The audio system was comprehensively upgraded in 2024 with the Meyer Sound Constellation system, which fills the open-air park with immersive concert-hall-grade sound from speaker arrays designed to look like large curving ballet barres.

teamLab Planets is the most-visited museum in the world dedicated to a single art group, according to Guinness World Records, drawing 2.51 million visitors in 2025 alone and holding the World Travel Awards for Asia's Leading Tourist Attraction in both 2023 and 2025. The museum describes itself as "body-immersive" — the artworks are not on walls or pedestals but encompass the entire environment, including floor and ceiling, and visitors are literally inside them. Entry is barefoot throughout. Several rooms require visitors to wade through shallow water. The art responds to every body that enters, folding visitor movement into the real-time visual composition.

teamLab was founded in 2001 by Toshiyuki Inoko and describes itself as an "interdisciplinary group of ultratechnologists" spanning artists, programmers, engineers, mathematicians, and architects. Their central philosophy is that the boundary between the individual and the world dissolves when both are part of the same continuously evolving system. Planets was originally intended as a temporary installation. It has now been extended through 2027, with a major expansion opening in January 2025 adding the Athletics Forest, Future Park, and Catching and Collecting Extinct Forest.

The Source is Greyworld's most celebrated work and the piece that definitively established kinetic data-responsive sculpture as a public art form. Installed in the main atrium of the new London Stock Exchange building at 10 Paternoster Square and unveiled by Queen Elizabeth II on July 27, 2004, it consists of 729 spheres suspended on 162 cables running the full 32-metre height of the atrium to the glass roof. The spheres act as three-dimensional pixels — each one independently motorised to move up and down its cable — capable of forming any shape in the volume of the atrium.

The sculpture is the official symbol of the London Stock Exchange. Each morning at 8 AM it wakes from its default resting cube to open the market. Throughout trading hours it responds to live news feeds and market data, forming figurative and abstract shapes at different heights — current headlines spelled out at full atrium scale, the DNA helix, the shape of a rising sun. At market close, the spheres return to the cube arrangement and a blue LED arrow rendered across the entire installation indicates whether the market rose or fell. Greyworld's director Andrew Shoben has described the spheres as "a fluid, dynamic, three-dimensional television."

Omega Mart is fundamentally different from every other entry in this dossier. It is not a single artwork, not a unified architectural gesture, and not a screen-as-building. It is 52,000 square feet of narrative immersive environment in which more than 325 artists contributed 250 distinct projects, unified only by a shared fictional universe. Visitors enter what appears to be a functioning American supermarket — "Omega Mart: America's Most Exceptional Grocery Store" — stocked with products of impossible absurdity. The supermarket is real. The products are genuinely there. Then visitors walk through refrigerator cases and emerge into a sequence of 60 increasingly surreal environments driven by video mapping, projection, custom interactive LED installations, and multisensory sculptural spaces.

The fictional Dramcorp corporation backstory runs as a discoverable narrative across all 60 spaces. Visitors choose their own path through the environments and piece together the story at whatever depth they wish to engage. The soundtrack is composed of original music from Brian Eno, Santigold, and Beach House. Three large internal slides allow visitors to move between levels physically. George R.R. Martin backed the original Santa Fe Meow Wolf; Omega Mart represents the commercialised expansion of that model into a permanent Las Vegas attraction. Admission runs $45–$60, making it the most expensive entry in this dossier for a single visitor.

Rain Room is the most behaviourally direct work in this dossier. Its proposition is simple and absolute: a room full of falling rain in which your body stops the rain from touching you. Created by London-based rAndom International (founded 2005 by Hannes Koch and Florian Ortkrass), it first appeared at the Barbican in London in 2012, then ran at MoMA in New York in 2013, where the queues stretched to seven hours at peak. LACMA acquired it permanently in 2015 — the first permanent Rain Room in the Americas — as the inaugural work of their Hyundai Project: Art + Technology initiative. The physical gift came from Restoration Hardware.

The experience is immediate and irreducible: visitors enter a dark, rain-filled space and discover that the rain stops wherever they walk. There is no screen. There is no image. The artwork is the relationship between a sensor system and a body in space, and the philosophical question it asks — what does it mean to control nature? — is answered physically rather than visually. rAndom International's broader practice consistently returns to this territory: their Audience (2008) work uses mirrors that turn to face each person who enters; their Future Self (2012) translates a person's silhouette into points of light.

WAVE became one of the most reproduced images of digital public art in the world within weeks of its May 2020 premiere, going globally viral during COVID-19 lockdowns when millions of people encountered it through social media. It is a piece of anamorphic content designed by Seoul-based d'strict for the curved LED facade of the SMTown COEX Artium in Gangnam — a 80.8-metre-wide screen that wraps the corner of the building, creating an L-shape that d'strict exploited to produce the illusion of a glass-fronted aquarium tank that a wave is about to shatter. The effect is only visible from a specific vantage point on the plaza below, but from that point it is so convincing that first-time viewers routinely flinch.

The LED infrastructure was installed in March 2018 by Samsung as part of the Gangnam K-pop Square development — a district of large outdoor screens intended to create Seoul's equivalent of Times Square. The screen shows K-pop videos, advertisements, and public content for most of its operational hours. WAVE runs for exactly one minute, every hour. d'strict describes WAVE as their "first licensing project with anamorphic visual technology" and the project was produced in four months from contract to premiere — three months of that spent on the digital design work required to make the anamorphic geometry convincing on a curved surface.

Forest of Us is the inaugural commission of Superblue Miami, a 50,000 square foot former industrial building in Miami's Allapattah neighbourhood purpose-built for permanent large-scale immersive art. Es Devlin — primarily known as a stage designer who has built sets for Beyoncé, Billie Eilish, The Weeknd, and Kanye West — created Forest of Us as her first major permanent immersive installation in the United States. It draws its central concept from the structural similarity between the bronchial tree of the human lungs and the branching architecture of trees: both exchange gases necessary for life, one giving oxygen, one absorbing it. Devlin conceived the work in response to the California and Brazil forest fires; its resonance was amplified by the COVID-19 pandemic, which struck the respiratory system specifically.

The experience begins with a three-minute projected film in which the forest gradually transforms into the interior of the human body — trees becoming bronchi, branches becoming airways. The film screen is physically perforated, and at its end, visitors walk through the screen into the mirror maze behind it, the threshold between film and space collapsing as they cross. The 4,500 square foot two-storey maze uses optical-glass mirrors and polished aluminium to produce an infinite recursive interior. Superblue itself was conceived by Mollie Dent-Brocklehurst as the first institutional home for the emerging genre of large-scale permanent immersive art, alongside works by teamLab, James Turrell, and JR.