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Beata Sirowy

This chapter’s point of departure is the definition of the quality of public art and its democratic character in terms of the quality of its exchanges with a wider public. Public art interventions oriented towards a dialogue with a wider public and local contexts strengthen democracy in at least two ways: by providing a meaningful background for collective performance in urban public spaces, and by providing a background for widely understood human development, which is a prerequisite for active involvement in the democratic life of a society. In this context I argue that the adoption of the perspective of modern aesthetics in relation to public art is problematic, as it foremost appreciates free, abstract art and encourages highly idiosyncratic formal explorations, often resulting in artworks that are incomprehensible for the average spectator. The chapter then brings forward Gadamer’s concepts of play and festival, and discusses implications of the understanding of public art.