In "Bus Station" (1995), George Segal presents one of his characteristically haunting tableaux, rendering human presence through the raw materiality of white plaster cast against a photographic backdrop rendered in gelatin silver print. The life-sized figures, frozen mid-wait in postures of quiet endurance, carry the unassuming weight of everyday existence, transforming an ordinary transit space into a meditation on solitude within public life. At nearly two and a half meters tall and over three meters wide, the work commands architectural scale, immersing the viewer in a scene that feels simultaneously familiar and profoundly removed from ordinary experience. Segal's method of casting from living subjects lends his figures an uncanny specificity, preserving the particular slump of a shoulder or the tilt of a head without descending into portraiture. The ghostly white surfaces refuse individual identity while insisting on shared humanity, a tension that gave his work enduring relevance across four decades of American art. The inclusion of the gelatin silver print grounds the sculptural scene within the photographic language of documentary realism, yet the combination of mediums ultimately resists straightforward naturalism, producing something closer to elegy than reportage. This work was created just a few years before Segal's death in 2000, placing it among the mature culmination of a practice that had long distinguished him within the figurative tradition. Signed by the artist and presented in excellent condition, "Bus Station" is currently available through Templon and represents a rare opportunity to acquire a large-scale, late-career work by one of the most significant American sculptors of the twentieth century.