Located in Blair, a small town near the Iowa border in northeastern Nebraska, the Charles R. Washington Art Project is a unique roadside attraction that has gained popularity among art enthusiasts and travelers alike. This community-led initiative, named after local resident Charles R. Washington, features an intriguing blend of folk art, environmentalism, and spirituality. Washington, an Vietnam War veteran and amateur artist, started collecting discarded materials from local residents and scrapping them together to create evocative works that address social issues, human emotions, and a love for the American West.

Between 1970 and 1985, Washington and local community members built more than a dozen monuments and sculptures made up of salvaged materials such as farm machinery, architectural salvage, and old road signs. One prime example of his creations, 'The Glass House,' showcases his ingenuity in reusing discarded objects: an out-of-ordinary cabin made from ten thousand panes of colored glass cemented into its walls. His whimsical monument, affectionately called the 'History Site Display,' uses a jumbled-up old school bus as a part of an artful history archive and gateway that marks the edge of the plot.

Besides giving local artists hands-on experience through workshops, the site became famous in the 1990s through American travel writers Ed Gorman and Tom Diamant, who visited the site numerous times. Based on the inspiration provided by Charles R. Washington Art Project, like-minded folk artists also experimented in out-of-ordinary mediums which produced a captivating assortment of artistic expressions and artistic impressions on American culture. Furthermore, this art collective has inspired numerous museum exhibitions focusing on outsider art, as exemplified by Wayne Strickland-led group which organized art exhibitions such as Nebraska as State, Omaha Museum, the same which took a form called 20th Century Folks.

Another captivating structure, 'Reproduction Old American History,' delves into America's revolutionary past with colorful steel carvings of the 'Uncle Sam' and Washington itself depicting a timeline of local US birthplace maps interlaced within historic maps. During this, another local Omaha-led street exhibition show, the so-called 30 years' anniversary celebrated this artistic space blending post-human history at their so-called so-worth-it road turnovers at home space or the living arts. Also remarkable are the large granite or rock configurations within land-works sculptured art all around the buildings constructed mostly by artists interested in ecological practices.

Generally popular among enthusiasts visiting this unique space because of an organized form showcasing non-stalined social forms, regional writers have acknowledged a key figure to embody these concepts: the rebranding of ordinary out-and-in communities, where natural elements, for example, fields and forests, get intertwined into urban sculptures that blend the outdoors with human innovation.

Washington passed away in 2000; to honor his memory, local organizers of Blair are setting aside their efforts towards the mission, making a major rehabilitation of damaged art and restoring the surrounding earth sculptured project and its historical American roadside arts.

Considering current developments, their involvement through upcoming modern art festivals offers opportunities for artists sharing involvement while expanding further the collective space while setting opportunities which continue beyond, more on its artist practice and humanly-sci vision than anything.

The Washington experience would like to showcase a blend which carries the contemporary artistic evolution in several Nebraska-based mediums.