George Segal's "Bus Station" (1995) presents one of the artist's signature plaster figures frozen mid-wait within a meticulously constructed environment that merges sculptural presence with photographic documentation. Standing at a monumental 243.8 × 304.8 × 83.8 cm, the work incorporates plaster, wood, gelatin silver prints, a plastic panel, and acrylic paint to conjure the transient, anonymous atmosphere of public transit infrastructure. Segal's characteristic casting method, which preserves the texture and posture of the human body with an almost forensic intimacy, renders the figure simultaneously familiar and estranged, a ghost inhabiting the prosaic architecture of everyday life. The gelatin silver prints embedded within the composition deepen the work's meditation on time and dislocation, layering photographic memory against the stillness of the cast figure. This interplay between mediums is central to Segal's mature practice, in which the documentary qualities of photography and the tactile weight of plaster create an unresolved tension between the recorded moment and the enduring object. The bus station setting, a threshold space associated with departure, waiting, and the rhythms of ordinary existence, amplifies the emotional register that defined much of his output across four decades. Presented by Broadway 1602 and signed by the artist, "Bus Station" represents Segal at the height of his environmental ambitions, delivering both formal rigor and humanist depth. Works of this scale and complexity from his late period are infrequently available on the secondary market, making this an opportunity of genuine significance for collectors focused on postwar American sculpture. The work arrives without a frame, consistent with its nature as a freestanding installation environment.