Nothing against bronze sculptures, but Boston’s latest public art projects feel a little less, well, stiff. From the temporary—Janet Echelman’s urban web As If It Were Already Here and the Lawn on D’s D Street ArtLAB are both on view until October—to the longer-term, like Kyu Seok Oh’s Wandering Sheep (above), the first piece in a 12-year series that will debut a new Chinese zodiac animal with the changing of the calendar, the city is celebrating a wide range of contemporary art. Walls are canvases for the Mayor’s Mural project and for Lawrence Weiner, whose A Translation from One Language to Another will be installed in Dewey Square this month, while empty lots become interactive wonderlands with help from the Department of Play collaborative. Add in the transportation-focused works planned for South Station, along with these three fall installations, and it’s clear this is a medium on the move.

Parcel 24 by Sara Egan

Composed of 31 panels, the 40-by-8-foot plaster mosaic was installed this month at the entrance of One Greenway. Here’s, it’s shown as a work in progress at her Cambridge studio.

On her inspiration: “When I made that particular painting, I wanted to do something with a different tempo, something that borders on chaos,” Egan says.

On the function of public art: “When you are driving along the road next to the Greenway and you look up and see Janet Echelman’s colored web of ropes, it creates a kind of revelatory feeling, an expansive feeling. It’s like when you go to the ballet and see a dancer leap or do an impossible twirl. There is a thrill to it. That kind of inspiration is important to us as humans, and to have public spaces that provide that kind of feeling, instead of just advertising and logos, is really crucial.”

Who Wears Wool by Hilary Zelson

The 10-foot-tall multicolored sheep and lamb made from new and recycled materials will be anchored in Fort Point Channel in early October.

On her inspiration: “Although visually light-hearted, Who Wears Wool will enhance an awareness of the positive contributions that the artists of Fort Point gave back to Boston after the wool industry collapsed,” Zelson explains. “The wool industry built a great brick-and-mortar infrastructure, but it was the artists of Fort Point who brought the area back to life, which set the stage for the huge growth of development in Boston today.”

On the future of public art: “I am picturing artwork that provides spaces or experiences that don’t currently exist. The art will be multisensory. We will sit on it, talk into it, hear its sound, and maybe we will even be lured in by its smell.”

A yet-untitled sculpture by Jacob Kulin

The sculpture made of granite, bronze and steel is slated for a fall installation in Fenway’s Symphony Park.

On his inspiration: “Inspired by the park’s name, both artistic and architectural features speak to notions of symphonic music,” Kulin says. “[The sculpture reflects] modern Scandinivian furniture design along with musical instrument shapes like a violin, cello, harp and guitar.”

On his dream project: “A monolithic exterior wall sculpture attached to the façade of a Boston high-rise building—the design would develop and grow based on collaborative insight from involved developers, stakeholders and architects. There are many ways to smartly and creatively blend sculpture and architecture.”