Twenty feet above Fulton Avenue in Brooklyn on Saturday, there was a curious art event: Three artists hosted concurrent receptions for the public art they created for three elevated platforms on the Jamaica subway line. The artists — Barbara Ellmann, Amy Cheng, and Jung Hyang Kim — were celebrating the completion of their permanent artwork for MTA Arts in Transit, which since the mid-1980s has commissioned works of art in subway stations throughout the city. During the last year, each artist created a series of large panels in the faceted-glass style that has come to characterize the public art along the J train route. But the week of the inaugural event, there was another familiar sight on the Queensbound line: an unexpected service advisory poster. It announced all three stations would be closed for track maintenance the day of the reception.

Ms. Ellmann laughed it off as she stood on the trainless platform at Van Siclen Avenue. “It’s absolutely fitting, the way I see it. It’s how we function with the MTA. When I heard about this, I decided to push through and go ahead with it anyway.” Dressed in an embroidered denim shirt, she warmly greeted the dedicated crowd of 20 that had made it to the station. Lynn Handelman, a family friend, drove in from Queens instead of taking the shuttle bus. “I don’t take the subway much any more, but I think it’s fantastic that people will see this when they wake up in the morning,” she said. A guard let party guests into the closed stations.

Starting today, when the J train returns to its normal schedule, commuters again will be greeted with Ms. Ellmann’s windscreens, a series of seven free-standing panels featuring brightly colored arrangements of modulated glass shapes. Clusters of irregular rectangles are stacked in large tableaux, about 8 feet wide. Their hand-chiseled edges, small bubbles of trapped air, and variegated texture echo the imperfect geometry of their surroundings: the brick façade across the open-air track, a row of windows at eye level, and the intersecting streets below.

One stop away, at the Cleveland Street station, Amy Cheng was hosting a gathering to celebrate her piece, a series of panels titled “Las Flores.” Adorned with large floral designs, their vivid palette was inspired by the Dominican culture in the neighborhood. Like the jewel-toned panels behind her, Ms Cheng added a shock of color to the overcast afternoon. She was dressed in several shades of rose. The swirling patterns of her windscreens were inspired by traditional folk art from several cultures, and like all of the projects for the refurbished J train stations, they incorporate faceted glass. With a mixture of resin and sand for structural support, thick chunks of glass are designed to capture light, arguably the most beautiful feature of the elevated train lines.

The project was Ms. Cheng ‘s first work with glass, and she looked to other public projects as a point of departure. “Since the form was established, I could get a good idea of what had been already been done and figure out how to use it in a more sophisticated way,” she said, leading a private tour of the deserted platform. In her seven panels, epoxy grout is not a blank area that holds the glass together but instead a central part of the composition, incorporating embedded glass dowels.

At the Crescent Street station, two stops farther down the line, Jung Hyang Kim presented her variation on the theme, titled “Wheel of Bloom.” Pointing to the repeating circular motifs, she spoke of her inspiration — the warmth of the sun, the wheels of the train — as a small group of invited guests looked on. “When I first visited, I was really struck by the open space and the wide blue sky. I wanted to remind the people of that and make for them a permanent garden,” the painter said.

Ms. Kim chose her colors based on the light of the changing times of day: the pale yellow of morning, and the deep blue of early evening. When the panels were installed last month, they contained small circular mirrors, but the next day the MTA covered the reflective surfaces in fear of vandalism. Ms. Kim said the motifs of radiating flowers are odes to the cycles of daily life — not just of days and seasons, but the routes of commuters, too.