His installation in Pennsylvania (1998) is a notable example of Tunick’s large-scale nude artworks, which gather hundreds or thousands of participants in public or natural spaces, transforming the landscape through the human body. This use of nudity creates a striking contrast with the environment, highlighting the vulnerability and collective power of individuals when stripped of clothing and social identifiers.

This leveling effect is central to Tunick’s work, where participants merge with their surroundings

to form a living sculpture that questions concepts of privacy, exposure and the body’s relationship to public spaces. The Pennsylvania installation continued his exploration of identity, social boundaries and our connection to space. It stood out for its formal governmental setting and for inviting participants to actively engage in the artwork, creating a narrative about art, community and the human condition.