Fields Harrington, a cyclist-turned-artist, cycled through Williamsburg one day when he witnessed a harrowing incident involving a fellow delivery worker. Realizing that this worker had no boss to call for help, Harrington began documenting the city’s ever-present and often-overlooked delivery bikes.

These bikes, adorned with flags and stickers, reflect a community of workers seeking recognition amidst their anonymity. Harrington, through his series at MoMA PS1, invites viewers to consider these cyclists not just as laborers but as essential contributors to the urban fabric. His installation includes renting a bike for several hours during exhibition hours, paying its owner $21.44 per hour, highlighting the need for rest in an otherwise relentless gig economy.

The bikes are more than objects; they’re symbols of resilience and community. By giving Gustavo Ajche, co-founder of Los Deliveristas Unidos, a week’s worth of earned wages, Harrington challenges the normative view of delivery workers as mere cogs in a machine. Instead, he elevates them to figures deserving of respect and humane treatment.

The New York Times’ critique exposes an ongoing tension in contemporary art—between advocacy and objectivity. While some may see this project as merely reframing attention rather than advocating for change, it serves as a stark reminder that the fight for fair labor practices is far from over.