‘COHAB’, installation view, hang frame with the project invitation card and a towel in use at Casco.
Photo: Emilio Moreno.

In recent years, the so-called genre of “public art” has undergone a dematerialisation process. As the public sphere has been understood increasingly in terms of a heterogeneous and agonistic discursive state, the emphasis has shifted to public art’s communicative and relational functions. In this course of development, public sculptures are seen as rather archaic or, one could say, simply unseen, folded in the zone between buildings and urban infrastructure.

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