The language used to propose and commission works of public art is particularly subject to close technocratic scrutiny. The risk of underestimating risk presses greatly upon all parties involved in the production process, resulting in a literary approach that favours legalese and the
hollow rhetoric of socio-economic enhancement. Could some small changes in the key vocabulary used in this field help to produce a public art practice that is more willing to take risk and more capable of engaging with complex evaluations of artistic merit?
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