The High Line and Chanel Culture Fund today announced that “Prior Occupants,” a new film by Alison Nguyen commissioned by the High Line as the fifth High Line Originals film, and the second High Line Originals co-commissioned with Chanel Culture Fund, is now on view.
The High Line Channel, located in the High Lineʼs covered passage at 14th Street, screens Prior Occupants daily from 10am to 10pm on a loop, through November 16, 2026.
Prior Occupants explores the obscure nuclear history of Westbeth Artist Housing’s building—the former headquarters for Bell Laboratories, a research facility tied to the development of communication technologies and, later, the atomic bomb. Inspired by a severed fragment of the original High Line freight rail left embedded in Westbeth’s facade and the High Line’s own history of transformation, Nguyen reflects on the historical narratives that persist—and those quietly erased—within sites of adaptive reuse.
“Through extensive research, ongoing conversations and relationship-building with Westbeth residents past and present, and highly crafted visual choreography, Alison Nguyenʼs Prior Occupants sheds vital light on the industrial and scientific legacies built into our surroundings,ˮ said Taylor Zakarin, associate curator of High Line Art. “Iʼm thrilled the High Line and Chanel Culture Fund could collaborate with Alison to bring this compelling work to life and to present it outdoors by the very spaces she investigates.ˮ
“Great artists enter into a dialogue with history, revealing new ways to understand the present. Through her new commission, Alison Nguyen excavates the layered histories surrounding the High Line, uncovering a legacy of innovation and human experimentation—and raising questions about technology, memory, and our shared future that feel more urgent than ever,ˮ said Yana Peel, president of arts, culture and heritage, Chanel. “Chanel Culture Fund is proud to continue our partnership with the High Line in support of artists whose original ideas celebrate the singular power of human imagination. By bringing ambitious moving-image commissions into public space, we hope to spark curiosity and reflection for the millions of people who encounter them amid the extraordinary urban landscape of the High Line.ˮ
“I’m grateful for the support of the High Line and Chanel Culture Fund which gave me the resources to create a work that examines the invisible structures of power embedded in a site,ˮ said artist Alison Nguyen. “As the filmmaking process unfolded, relationships I formed with past and present Westbeth artists along with architectural archives opened up directions for the film which I had not anticipated, and was thrilled by.ˮ
Long before Westbeth’s conversion into a historic public housing community for artists in 1970, the site was occupied by Western Electric and later Bell Labs—a crucible of innovation where critical cinema, telecommunications and military technologies were researched, including components later used in the development of the atomic bomb.
Both Bell Labs and Westbeth Artist Housing are places created to pursue large, even utopian ideals. In the case of the former, technological innovation; in the case of the latter government-funded artist housing. Prior Occupants explores what remains of the pursuit of these ideals, how the surrounding architecture has shaped its inhabitants and the contradictions of present-day Westbeth in the context of the High Lineʼs surrounding neighborhood.
Prior Occupants is an assemblage of audiovisual material including sculpturally re-filmed archival documents, choreographed performance sequences and layered fragments of audio interviews with the very residents and architects who have shaped Westbeth and the High Line. Through this collage of voices and textures, the artist explores individual and collective relationships to place, technological acceleration and mortality, and foregrounds the ways in which the structures of the past quietly haunt our future-present. Questioning the relationship between ruination and cultural production, the work asks: What does it mean to stage the decay of an industrial past within public environments and within public artist housing? What role does nature play in these acts of preservation?
Nguyenʼs film weaves together infrastructure, memory and technology to consider how the legacy of the nuclear age continues to shape our collective experiences, and positions the High Line not just as a space for leisure, but as an active conduit of our historical consciousness.
Alison Nguyen is a visual artist working across video, installation, performance and painting. Using approaches of speculative fiction, documentary research and embodied performance, Nguyen creates works that reconsider how narratives operate within the individual, the institution, the archive and within the politics of cultural memory.
In addition to Prior Occupants, Chanel Culture Fund and High Line Art presented a special two-day screening, on September 6 and 7, of two prior commissions from The Window, Chanel Culture Fund’s site-specific public art program in Central London for cutting-edge works exploring the breadth of todayʼs digital technologies. The screening featured Our Bodies (2024-2025), by Cecilia Bengolea and Inhale/Exhale (2021) by Noémie Goudal.
Another work from The Window, The Last Post (2010) by Shahzia Sikander, will be included in a forthcoming High Line Channel exhibition alongside The Hedge ofi Halomancy (2025) by the artist duo Hylozoic/Desires (artist Himali Singh Soin and musician David Soin Tappeser) in November 2026. Following its exhibition on the High Line, Prior Occupants will screen at The Window in London.
Part of High Line Channel, High Line Originals is High Line Artʼs commissioning program for artists working in time-based media. This initiative invites emerging or underrecognized US-based artists, nominated by a trusted group of contemporary curators, to submit a proposal for a new video work that considers the context of the park in a meaningful way and will resonate with our diverse audience.
High Line Originals launched in 2019 with Tourmalineʼs Salacia, which is now held in the Museum of Modern Artʼs permanent collection. Other past commissions include Onyeka Igweʼs The Miracle on George Green (2021) and Alicia Mersyʼs NYC Wisdom (2024). In 2025, High Line Art partnered with Chanel Culture Fund and together co-commissioned Frank Wang Yefengʼs Groundless Flower – ཨ (2025).
