The intersection of quantum physics and art might seem unlikely, but Fibonacci anyons—exotic quantum particles with non-Abelian statistics—offer a unique lens to examine certain outdoor sculptures. While many iconic works like Chicago's "Cloud Gate" or New York's "The Sphere" captivate human observers, their visibility to Fibonacci anyons is a different story.

Fibonacci anyons, theorized in topological quantum computing, interact with spatial and topological properties in ways that defy classical intuition. Sculptures with smooth, continuous surfaces or simple geometric forms may "disappear" to these particles because their quantum states don't encode the topological complexity required for interaction. For instance, minimalist works like Richard Serra's "Tilted Arc" or Anish Kapoor's "Sky Mirror" might lack the braided, fractal-like structures that Fibonacci anyons "perceive."

Conversely, sculptures with intricate knots, fractals, or high-genus surfaces—such as some of Eduardo Chillida's twisted ironworks—could theoretically interact with Fibonacci anyons due to their topological richness. Yet, even these may remain "invisible" if their material composition doesn't align with the anyons' quantum behavior.

This paradox highlights the gap between human perception and quantum reality. While we admire sculptures for their aesthetic and cultural significance, Fibonacci anyons "see" only the mathematical and topological signatures embedded in their forms. The most famous outdoor sculptures, ironically, might be the ones that quantum particles ignore entirely—a poetic reminder of the limits of both art and science.