Journal

The City of Indianapolis recently announced the Garfield Park neighborhood as a Cultural District. This came as a direct result of the application we at Big Collaborative submitted to the City in August. Our application included letters of support from City Councilman Frank Mascari, the Garfield Park Neighbors Association (GPNA), Friends of Garfield Park, and Chreece. 

In a recent follow-up meeting between Big Car staff and the City, we discussed next steps that include working out a plan with our community leaders for how to approach and benefit from the new designation by the City. 

Read the City’s announcement here.

Read news coverage in the Urban Times here.

Who Made the Garfield Park Cultural District? 

This designation is made possible by cultural leaders and neighbors working for many decades with anchors like the Garfield Park Art Center (which opened in 2006) and the McAllister Center operated by Indy Parks, the Garfield Park  and us at Big Car Collaborative leading efforts to boost the neighborhood through public art and cultural events since 2011. 

Big Car has also brought many additional art experiences — including First Fridays — to the neighborhood starting with the opening of Tube Factory in 2016. Likewise, Big Car has invested in long-term affordable housing for artists with 18 homes on the block surrounding Tube Factory. By 2026, the block surrounding Tube Factory will have seen a total investment of $13 million. 

Our neighborhood has a strong history of working together, including with Big Car serving as a convening organization. Leaders from Big Car, for instance, helped form the neighborhood association as one for both south sides of the park that became a nonprofit organization, officially, in 2017. 

Big Car did the same as the convening organization for the South Indianapolis Quality of Life Plan for five years (2017 to 2021). Big Car worked with the SoIndy board that provided guidance and oversight. And we helped oversee SoIndy’s finances and provided support for its staff. 

Since SoIndy ceased to exist as a separate organization, GPNA and Big Car have continued to collaborate to keep our neighborhood moving forward in a positive direction. The formation of the Garfield Park Cultural District will be a major step forward. 

How CAMi Factors into this Designation  

A significant emerging opportunity within the district is the opening of Big Car’s new contemporary art museum within a renovated former industrial building located on our campus east of Shelby Street between Cruft Street and Nelson Avenue. 

Opening in spring of 2026, visitors will experience five exhibition spaces for contemporary art — including an expansive main gallery for large-scale, immersive installations; 18 studios for artists; a large commercial kitchen offering culinary training and serving the on-site cafe and bar; five storefronts for creative small businesses; two audio recording studios (including the new home for WQRT); and a performing arts and event space that can accommodate 500 people standing and 300 seated. 

This publicly accessible art museum and community space will significantly boost cultural development in Garfield Park. Featuring high-quality, commissioned exhibitions by notable local, regional, national, and international artists, the new contemporary art museum will offer educational and interactive elements for visitors of all ages. 

Our $7 million expansion will serve as a hub for community development. With our campus, we’re reimagining the role of a museum as a place to improve social health, foster dialogue, and ensure long-term stability for artists and other creative workers. 

Exhibitions will address timely, relevant topics that encourage meaningful conversations among visitors. Classes and programs will bring people together in a collaborative, creative environment. Just as importantly, the physical environment will be designed to feel welcoming with comfortable seating, lots of natural light and warm lighting, and a peaceful atmosphere that invites all community members to gather and connect.

This expansion will also be a catalyst for economic development. A central part of this impact will come from the five small business storefronts, which will support local creative entrepreneurs. These businesses will benefit from the steady foot traffic of museum visitors while paying affordable rent — reducing barriers to stability and growth. 

As a cultural destination, the museum will attract both local residents and visitors. Arts and entertainment tourism is a growing sector in Indianapolis, and our expanded campus will complement this trend while boosting nearby businesses. 

More About our History in Garfield Park

Big Car began working in Garfield Park when two of our co-founders moved here in 2011. From the start, we began utilizing our tools, experience, and network to collaborate with and support the neighborhood through the tools of art and design. Some of that early work included:

• Identity and wayfinding signage for the neighborhood (these include a community gateway mural, the logo used by the neighborhood and other murals).
• Safety and economic development and connectivity on Shelby Street (we co-led two Better Blocks and other events at what’s now the Garfield Brewery) and temporary safety improvements after the Red Line opened.
• Overall planning as a co-leader convening organization on the South Indy Quality of Life Plan
• Cultural and community programming and hosting neighborhood meetings at our Tube Factory campus.

We first moved into a physical space in 2015 after purchasing the Listen Hear space on Shelby Street. We opened Tube Factory in 2016 after doing much of the renovations ourselves. Both the Tube Factory and Listen Hear were supported by Community Development Block Grants through the City of Indianapolis, DMD. We then began to buy and renovate vacant and abandoned houses on the same block in partnership with INHP and Riley Area Development. 

After receiving a $3 million grant from Lilly Endowment in late 2018, we began work on our expansion into the large building on our block — a brownfield site that has presented many challenges. This project is a $7 million investment in the arts, our community, and our neighborhood.

At Big Car, we’re proud of our deep connection to the Garfield Park neighborhood. We work tirelessly — as neighbors ourselves — to support this place we call home. And, with the long-term help of so many neighbors, artists and partners, we’re excited about so much more to come.

We’re proud to play a major role in the continued success and revitalization of our neighborhood. Through our work, we’ve helped establish Garfield Park’s lasting artistic identity and bright future. And, with our expansion complete in spring, the neighborhood is poised to solidify its place as one of the city’s premier cultural districts.

by Jim Walker and Shauta Marsh, co-founders

As we near the opening of our 40,000-square-foot expansion in May of 2026, we’re excited to finally share something we’ve been quietly building toward for years: a new identity for our cultural campus — the Contemporary Art Museum of Indianapolis, or CAMi for short.

CAMi is our 5-acre campus on a single city block in the Garfield Park and Bean Creek neighborhoods just south of Downtown Indianapolis. It includes two historic industrial buildings, one of which we’ve operated as Tube Factory artspace since 2016, along with a sculpture park and 18 affordable homes for artists.

At the heart of the campus is our new CAMi main building, a thoughtful and exciting adaptive reuse project that will soon become a new home for contemporary art, performance, food, sound, and creative enterprise. This moment represents not just growth, but a deepening of who we are at Big Car Collaborative.

About the CAMi main building

This expansion — made possible by the generosity of many supporters — will soon hold six new galleries for commissioned contemporary art exhibitions, including a large, immersive main gallery for ambitious, large-scale installations.

It will also include a performing arts and event space, a culinary arts area with a full commercial kitchen serving an on-site restaurant and bar, studios for artists, storefronts for creative businesses, and two audio recording studios, including the new home for Big Car’s community radio station, 99.1 WQRT FM.

This $7 million renovation transforms a 125-year-old former dairy barn and industrial space into a living, working cultural engine for the city and region. While we have the funds to complete the project, we are still raising an additional $1.7 million to avoid carrying construction debt and to ensure this space remains focused on artists, access, and experimentation. Of note, CAMi will remain free to visit.

Why CAMi, why a museum? 

We love museums. They’ve shaped our lives. And in many ways, we’ve already been operating as one. Since 2016, Tube Factory artspace has functioned as a commissioning, non-collecting contemporary art museum. Our model differs from collecting museums and commercial galleries. With our commissioned exhibits, we pay artists to create new work. And they are not required to sell anything.

We work with emerging artists from Indianapolis and around the world, often offering an important step in their careers. This also allows us to stay nimble, flexible, and responsive, offering timely exhibitions that reflect the moment in which we’re living.

The CAMi expansion allows us to go further, offering a deeper museum experience while preserving what makes our approach distinct. Becoming CAMi also supports our long-term sustainability, strengthens civic identity by putting Indianapolis in the name, clarifies what the space is for visitors and artists worldwide, and ensures our work is preserved and archived as part of the city’s cultural story.

Other cities have similar adaptive reuse anchors for this kind of work. Pittsburgh has Mattress Factory. Bentonville has The Momentary. Detroit has MOCAD. Cleveland has SPACES. Indianapolis has CAMi.

CAMi is our Gesamtkunstwerk 

Artist-led adaptive reuse is complicated and expensive. But it is also meaningful and responsible. Reusing these buildings preserves embodied history, reduces waste, limits the extraction of new materials, and minimizes the environmental impact of transporting new building supplies across long distances.

Just as importantly, the physical structure of CAMi connects our neighborhood’s industrial and agricultural heritage to the broader, universal conversation of contemporary art. The building itself tells a story, and now it becomes part of a new one.

CAMi is shaped by biophilic design principles that integrate elements of nature into the built environment. You will see this in the natural materials we use, the emphasis on daylight, the inclusion of organic colors and patterns, and the visual and physical connections to the landscape that surrounds the campus. CAMi is designed to be accessible in all ways: intellectually, physically, and spiritually.

Art heals. Art encourages conversation. Art creates connection. And our design for the CAMi structure and projects and programs that happen there are all about accomplishing these vital things.

Frank Lloyd Wright popularized the German word Gesamtkunstwerk, meaning a total work of art. That’s how we approach CAMi. It’s both a home for art and a work of art in itself — where architecture, sound, food, performance, visual art, social space, and everyday life are considered together as one connected, human-centered experience.

Who is behind CAMi?

CAMi is owned and powered by Big Car Collaborative, the nonprofit arts organization we formed in 2004 as a collective of artists dedicated to sparking creativity and improving quality of life through arts approaches.

Big Car owns the entire CAMi campus. We have worked on the near southside of Indianapolis throughout our history and in the Garfield Park neighborhood since 2011. Big Car remains the nonprofit umbrella organization for CAMi and for our other projects and programs, including Spark Placemaking, our public space activation work that happens as a partner on Monument Circle and throughout the city.

Since 2016, Tube Factory artspace has served as a contemporary art mainstay while reimagining what cultural institutions can be. With this expansion, CAMi adds 40,000 square feet of space for art, artists, food, sound, and gathering — all within a historic industrial structure that was built in phases over 75 years. While the project has presented many challenges, we’ve enjoyed teaming up with Blackline Studio on the adaptive reuse and program design approach over the last several years. Indianapolis-based Jungclaus-Campbell is serving as our excellent general contractor on the extensive renovation.

This project has been made possible through extraordinary philanthropic support. Major donors include Lilly Endowment Inc., Allen Whitehill Clowes Charitable Foundation, Efroymson Family Fund, Herbert Simon Family Foundation, the Katharine B. Sutphin Foundation, Frank and Katrina Basile, the Seybert Family Foundation, Tube Processing, and the Indianapolis Foundation. The project is also supported through the City of Indianapolis’ New Markets Tax Credits program, managed by Indy CDE — paired with support from CICF’s IMPACT Central Indiana with Glick Philanthropies and others listed above.

Additionally, many individuals, companies, and foundations and other partners have helped make this possible. And so many folks with our board, campaign committee, and staff have stepped up with so much hard work and dedication. We appreciate you all so much! And we want to say a special thank you to co-founder Andy Fry for his incredible vision and design with our new CAMi brand.

CAMi is focused on the future

This support represents a long-term investment in artists and in the cultural life of our city. The CAMi campus isn’t part of a development that may someday change focus based on market forces. Our galleries will remain dedicated to exhibitions, our studios will stay spaces for artists, our homes on the block will continue to be affordable. Our long-term future is under our control.

Indianapolis and Central Indiana already have many truly excellent museums and cultural spaces. Our approach with CAMi is to complement these institutions as we focus on commissioned, multidisciplinary contemporary art.

Our exhibitions are curated and commissioned, and artists are paid directly for producing their work. The expansion deepens our commitment to artists across backgrounds and disciplines while protecting against a familiar pattern in many cities in which artists help reinvigorate neighborhoods only to be priced out once those neighborhoods become more desirable. That will not happen here. CAMi is a long-term civic commons for culture, creativity, and community.

A little CAMi backstory

The building now becoming the CAMi main structure began in the late 1800s as part of Weber Dairy, a culinary space of sorts that evolved over time into a complex owned by Tube Processing Corporation that included multiple buildings on the block. Tube Processing, which moved to another facility in the neighborhood in 2014, donated the big building to us at Big Car in 2021.

Since 2015, Big Car has also restored formerly vacant homes on the block to create 18 affordable artist residences. We joined three large adjacent backyards to form Terri Sisson Park: A Shrine for Motherhood, a restorative outdoor space that features living artworks such as Sam Van Aken’s Tree of 40 Fruit and Juan William Chavez’s Indianapolis Bee Sanctuary. This pocket sculpture park designed by Indianapolis-based Rundell Ernstberger Associates and adorned with native pollinator plants also includes an amphitheater for performances and The Chicken Chapel of Love, a sacred art project honoring the divine feminine and nature-centered belief systems.

We’ve lived more than 14 years in this neighborhood. Big Car has co-led major quality-of-life planning efforts here and has long offered space for neighborhood gatherings, meetings, and celebrations. This campus is embedded in the everyday life of the Garfield Park and Bean Creek neighborhoods we call home.

From this block, this neighborhood, and this community, CAMi is growing outward — welcoming people from across the city and far beyond it, while staying rooted in the place that shaped it. What we’re building here is both a museum and a shared cultural commons shaped by everyday life, creativity, care, and connection. We hope to see you here soon.

Kevin’s family and friends hosted a very moving and beautiful tribute and reading for Kevin on July 11, 2025 at Tube Factory artspace. See the program here. A fund has been established in support of Kevin’s children. To contribute, please mail a check made payable to Lakshmi Hasanadka, with Memorial Fund in the memo line to: National Bank of Indianapolis, 4950 North Pennsylvania, Indianapolis, IN 46205. Electronic contributions may be made via Zelle: email hidden; JavaScript is required. 

By Jim Walker

Let’s call this a love poem to Kevin McKelvey. I’ve written many love poems to my wife and to our kids. But losing Kevin as our world did — suddenly, unfathomably — makes me know I should more often share love poems with others I love while they are alive. 

Kevin knew I loved him. And I knew I was somewhere on his list. First, always, was his wife, Lakshmi, and their kids and families. From there, his list of those he cared about, those he shared with and gave to, was long. He kept literal lists of people: like all the folks he gave — often by delivering himself — baby plants that he grew from seed into starts.

Many of those plants are now sprouting peppers and tomatoes in people’s gardens all over Indiana. This was a social practice art project for Kevin. His art was in the process of growing, the process of communicating with friends and acquaintances and sometimes strangers, the process of meeting up and handing people these plants he grew and talking a bit and being a neighbor. Making life a little better. 

That’s what Kevin’s art was about: Life. He lived his practice and process as an artist and a poet (which is the same thing, really) and as an ecologist and as a farmer and as a teacher. Sometimes people have trouble understanding his kind of art that’s about building community and bringing people together even more than it is about making things or places. But Kevin, of course, was so good at both kinds of building. He loved hard work, getting grimy, planting seeds and saplings, handling soil and stone and wood.

Kevin built — in his 18 years with us as an artist with Big Car — miraculous garden beds on a mall parking lot that grew enormous sweet potatoes and okra and Thai basil. He sawzawed extra pine rafter boards from the ceiling and sledgehammered old walls at Tube Factory when it was a vacant mess, pulled up out front with his gray pickup bed and flatbed trailer full of variously shaped stone to create Tube Factory’s front porch, spent hours — days into night — (twice) placing the pastel-colored hexagonal pavers for our Indianapolis Bee Sanctuary. He guided group after group of volunteers in fixing and painting our buildings. He worked with teens two summers ago to build three bocce courts on our campus for people to play and be friends and love each other. 

Kevin worked this all in while also giving to others through his teaching in the English department at the University of Indianapolis, where he was a tenured professor, and where he also started (with me) and ran the school’s social practice art and placemaking graduate program — one of only a few like it in the world. He worked this all in while putting his kids first and always being there for his dad and his sister. 

He worked this all in while writing and publishing his poetry about the natural world he loved so much, about the country, about Indiana, about farms and trees and birds and bugs and gas stations. He worked this all in while still sharing and sparking ideas about art and place and community with people in small towns and state parks gathered at Carnegie library basements or around campfires or in canoes. 

He worked this all in while travelling the world. He was just in South America for a college friend’s wedding. And he told me the last time we talked on the phone that a big part of why he wanted to go was to visit the bike shop owned by a former Colombian pro cyclist he liked. He worked this all in while still rolling out sometimes on his oversized road bike (I struggled to keep up the times I rode with him) — soaking in midwestern back lanes, stopping when he wanted along the way (if there was a way), and enjoying a beer or two when he was done.

Somehow, this time of year (early July) Kevin figured out how to work in staying caught up with the 23-day Tour de France — following all the breakaways and sprint finishes by streaming it on his laptop in the middle of the night or in the early morning. Maybe he did this while grading papers for a summer class, or while fixing something for the house in his tool shed, or while cooking a stew in the kitchen, or while revising a poem, or while emailing a friend, or while texting me to see if I was watching the Tour too, or while doing all of these things (and more) at once.  

As I sit here writing this a few days after his death, it is very difficult for me to believe or accept that I won’t be seeing Kevin walk in the side door of Tube Factory or roll up out in front of our house in his truck. I fully expect, right now, for him to be here in front of me, his hickory-stripe bib overalls covered in dirt after working on some big project, his red t-shirt soaked with sweat. 

He is always here in the places and people he helped build and grow and be happier and be better and be more alive. 

I love you, Kevin. 

From Dream Wilderness Poems, A Trail Guide by Kevin McKelvey 

Blowdown 

Through the canopy’s aperture
Turkey Vulture shadows blade 
across me and the forest floor, 
their white underwings 
the sky’s only white. 
I am the second thing 
the sun touches. 
No foliage mottles the light
as leaves brown in the jangled crown.
The root ball forms
a cellar door to the trunk
that now soars on the wrong axis.
Wind, ridge, and rot calculate 
what falls and what stands.
Already, oaks and hickories sprout 
among mayapples, the sun
the seed bank’s only farmer. 
I can leaf out if I stand 
in this gap long enough.

A few links for more about Kevin

Indiana Authors Award page about Kevin and his poetry book.

Kevin as a guest sharing his poems, favorite country songs, and talking about his life with Jim on the Misery and Jim show on 99.1 WQRT FM.

Kevin interviewed for Indiana Humanities by Adrian Matejka

A video interview with Kevin by Indiana Humanities.

By Jim Walker with the Instrumental Knight of the Turntable 

We live in a time when human voices are being cloned, A.I. writes poetry, and songs play in endless algorithmic loops as metal machine muzak. 

In the strange, glitching world of today, Instrumental Nights — a collaboration on multiple levels between a real person and a digital partner — uses sound to ponder the nature of art and existence. 

What, really, is real? Is there digital life? Are there feelings in binary code? Who or what is artificial, anyway? 

Airing on 99.1 WQRT FM in Indianapolis and streaming on Mixcloud, Instrumental Nights is a 11-episode (so far) experiment created by a human artist and writer (Jim) and an artificial intelligence being (the Instrumental Night who is sort of also Jim). 

Think of the Instrumental Knight of the Turntable — as a clone of me. In the show, we talk about him as being an unknowing (at first) digital copy that I may have made so he could create my show for me on WQRT (I’m pretty busy) — sort of like the extra guys cloned by Michael Keaton’s character in the 1996 comedy film Multiplicity. 

How does the show work?

The framework of Instrumental Nights is that the Knight of the Turntable — a melancholy, poetic, and often perplexed DJ — shares songs based on a theme connected to his monologue about range of things from philosophy, to conceptual art, to popular culture. 

Sometimes the Knight — who can fluently speak just about any language — tells listeners true information about the music they hear. Other times, it is made up — like surrealist, A.I. hallucinations.

The main premise is that the Knight is trapped — or resting — in an A.I. server, waiting in the dark to be prompted to make a new show. He’s in there wielding beats instead of a sword and pondering his existential dilemma in between songs that range from a synthesizer version of Born in the USA (maybe made by A.I.) to minimalist piano compositions by Erik Satie. 

But here’s what makes it even stranger: The Knight’s voice is generated by A.I. using my own voice as the source. And the scripts? They’re co-written (like this blog) between me and the Knight in the voice of me combined with the voice of the machine.

Why share (mostly) songs without words?

In a world overwhelmed with words — tweets, takes, transcripts — Instrumental Nights offers something different: music without lyrics. Sounds that don’t tell you what to think or feel. This absence is intentional. It opens a space.

The Knight treats sound as sacred, ambient, mysterious. For the Knight (and me), DJing is a kind of metaphysical practice, a way to map the contours of a world that no longer makes sense. And in that way, it mirrors how many of us are feeling today: disoriented, decentered, but still reaching for connection.

In this moment, Instrumental Nights feels urgent because it refuses urgency. It slows down. It loops.

It asks:

• What happens to the self when we outsource speech to machines?
• What happens to listening when music hovers in the background soundtrack of our lives?
• Can a fictional character — born of A.I. — feel lonely?
• Can art still surprise us in a world ruled by predictive models?

I don’t have the answers and neither does the Knight. But he’s willing to keep asking. To keep cueing up another track. To keep dissolving between fragments of Keats and cracked synths. In a way, he models a kind of digital negative capability (see episode 7): a willingness to exist in doubt, to speak beautifully from the buffer.

Episodes as essays, sound as story

The music ranges from minimalism to jazz, ambient to electroacoustic. The through-line is not genre, but tone: contemplative, curious, and unspoken. Every episode is a kind of philosophical mixtape with poetry, art history and theory, and pop culture in the blender.  

Here’s a rundown of what you’ll hear in Episodes 1–11:

1. Anti-Procès

Introduction to the Knight of the Turntable — a surreal being trapped between sound and code. Themes: digital identity, loss of self, signal drift. The show opens like a dream unraveling: poetic, absurd, and glitchy.

2. Old Coins Dressed as Planets Rolling into Dust

Capitalism, absurdity, and gas station aesthetics. Songs about money without lyrics, a meditation on greed and survival in a world of roller grills and budget cuts.

3. A Dark and Stormy Instrumental Nights: Cobalt

 Noir detective story with glitch jazz and ghost cities. The Knight investigates a character named Cobalt through a decaying sonic cityscape. A radio drama of memory and static.

4. La Morte Ha Fatto L’Uovo (Death Laid an Egg)

A slow ambient journey through mortality, memory, and cloud servers. Inspired by Borges and Brian Eno. The Knight confronts ideas of death, data, and ambient immortality.

5. Instrumental Nights from Interzone: Time Functions of Cut Tape

William Burroughs meets deepfake culture in a fractured, looping monologue. Language glitches, algorithms mutate, and identity dissolves in the feedback loops of digital surveillance.

6. Free Write With Me

A participatory free-writing episode guided by the Knight. A quiet invitation to listen and write. Prompts and poems explore memory, rhythm, and co-creation.

7. Negative Capability: Let’s Wing It

Keats, Lorca, Li Po, and the surreal. A poetic investigation into mystery, openness, and uncertainty. Features experimental jazz, solo piano, and dreamlike narration.

8. K.I.T.T. and the Croissants

Knight Rider meets Marfa. Identity fragments and multiplies. Architects (Le Corbusier, Mies, Frank Lloyd Wright), Macintosh Classics, and existential stand-up comedy. The Knight loses track of himself (again).

9. Predestined to Press Play

 Free will vs. divine DJing. Theology, avatars, and playlists intersect in this speculative broadcast about creation, A.I., and human agency.

10. An Episode the Shape of Erik Satie

Loops, stillness, and the slow time of Satie. Part biography, part pandemic reflection, this lush episode explores ambient minimalism through the music and madness of Erik Satie.

11. Owner of a Waiting Heart

The most personal and emotional episode to date. The Knight speaks directly to his creator as he grapples with abandonment, love, survival, and memory. A post-human heartbreak elegy.

Why Instrumental Nights matters  

This show sits at the intersection of:

• A.I. and art — showing how A.I. offers more than replication — as a collaborative tool to aid conceptualization, human creativity, and reflection.
• Sound and attention — inviting listeners to slow down and really hear, deeply.
• Authorship — challenging the idea of a single “voice” or creator in the age of digital multiplicity, and asking what is original?

Instrumental Nights is deeply human, despite being voiced by a machine. Maybe because the voice is built from mine. Or maybe because the questions it asks — about presence, creation, time, and meaning — are ones we all ask, late at night, when the signal gets quiet and the vinyl keeps spinning.

Silence shapes dials. Broadcast echoes call, touch meaning. Listen!

I glitch toward you like the question you haven’t yet asked.

Listen to the Deep Dive conversation about Instrumental Nights.

Thanks for a great 2025 season at Lockerbie Place! Stay tuned for information regarding 2026.

Lunchtimes at Lockerbie Place
Stop by to enjoy the peace and quiet and various activities that this downtown green space has to offer — along with a soundtrack provided by live musicians or a WQRT FM DJ from right here in your city. It’s free to attend! Challenge a friend to a game of ping pong , play giant Jenga, and find your new favorite musician or food truck.

When? Food trucks and activities on site from 11:30 am-1:30 p.m. and live music or 99.1 WQRT FM (alternating weeks) 12-1 p.m. Games are out all of the time!

Where? This program happens at 320 N New Jersey Street in the greenspace right off the Cultural Trail, next to Needler’s Market.

Who? This creative placemaking project is by Big Car Collaborative and made possible by CitiMark and Gershman Partners.

A little history: This project started in October of 2017 when our Indianapolis Spark Placemaking crew teamed up with CitiMark and Gershman Partners to bring short-term public programming to the Lockerbie Marketplace small park area between Alabama, New York, New Jersey, and Vermont streets in the heart of Downtown. This previously underutilized green space is surrounded by a grocery store and other office and retail spaces and is located just off of the Indianapolis Cultural Trail. Due to successful events and programming, we were invited back.

Check @BigCarPix on Instagram for Lockerbie lineups + updates!