San Francisco’s most controversial piece of public art, a 45-foot-tall metal sculpture of a voluptuous nude woman at Embarcadero Plaza, is here to stay for at least six months — and maybe longer. San Francisco Recreation and Parks is extending the original six-month permit for “R-Evolution” to March 2026.
“When we first permitted the piece, it was for six months to a year, because we weren’t sure if we might need the space [for] something else,” said Tamara Aparton, a spokesperson for the department.
“R-Evolution,” by Petaluma-based artist Marco Cochrane, was erected in April with funding provided by the nonprofit Sijbrandij Foundation; Building 180, a nonprofit that installs large-scale public art; and San Francisco Recreation and Parks, which owns the land. In order to extend beyond March 2026, organizers would need approval from the San Francisco Arts Commission’s visual arts committee and the Recreation and Park Commission.
The installation bypassed the usual two-week public comment period required by the Arts Commission because it was temporary and privately funded. Instead, it was placed on the Arts Commission’s agenda just 72 hours before the body voted to approve it — much to the chagrin of the work’s critics.
“Considering this statue was foisted on us with no public process, it’s pretty annoying that it’s going to be there longer, especially considering how gaudy and ugly it is,” said Ted Barrow, an art historian. “The body is exceedingly specific and almost pornographic. It’s a valorization of tech more than any enduring humanity.”
On his website, Cochrane writes that the sculpture, which he debuted at Burning Man in 2015, is a “symbol of feminine strength and liberation.” Though it’s not immediately obvious, the sculpture moves; inside are 16 motors that expand its chest throughout the day, slowly mimicking breath.
While the artist and proponents say the work champions femininity, critics have taken issue with what they describe as the promotion of unfair beauty standards, pointing to the figure’s thin waist and large breasts. They have described it as obstructing the view down Market Street of the iconic Ferry Building, and as “plop art,” a pejorative for works that are thoughtlessly installed in public spaces, without regard to the surroundings. They have also criticized the decision to showcase a male artist’s work intended to express feminine strength.
“As a gallery owner who has focused much of my program on supporting female artists for nearly 12 years, I would like to see more female curators consulted for these projects,” Aimee Friberg, a curator and gallerist, told The Standard in April.
“I also would like to see foundations that have the means use their resources to shift this imbalance. If the goal is to empower women, there’s a very clear way that this can happen: Engage women artists.”