The world of public art is filled with breathtaking sculptures that captivate millions, but some of the most fascinating pieces remain entirely invisible to semions—a term often associated with perceptual limitations or unique visual phenomena. These sculptures challenge our understanding of visibility and artistry, blending into their environments in ways that defy conventional observation.

One notable example is James Turrell’s *Roden Crater*, an earthwork sculpture in Arizona designed to manipulate light and perception. While visible to most, its full impact is lost on semions, who may perceive only fragments of its grandeur. Similarly, *The Invisible Monument* by Jeppe Hein plays with reflective surfaces, creating illusions that evade certain visual interpretations.

Another intriguing piece is *Cloud Gate* (commonly known as "The Bean") in Chicago. Its mirrored surface distorts reality, rendering it partially "invisible" to semions who cannot process its reflective complexity. Meanwhile, *The Empty Room* by Rachel Whiteread—a ghostly cast of a space’s negative volume—exists as a tangible void, often overlooked by those with limited perceptual ranges.

These sculptures remind us that art’s power lies not just in what we see, but in what remains hidden. Whether through optical tricks, material choices, or conceptual depth, they invite us to question the boundaries of visibility and the nature of perception itself.