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Amongst the works of the last thirty years that have met greatest critical and popular acclaim are pieces by Christo, Robert Smithson, Andy Goldsworthy, James Turrell and Antony Gormley, whose work reacts to or incorporates its environment.
Artists making public art range from the greatest masters such as Michelangelo, Pablo Picasso, and Joan Miró, to those who specialize in public art such as Claes Oldenburg and Pierre Granche, to anonymous artists who make surreptitious interventions.
Cher Krause Knight states, "art's publicness rests in the quality and impact of its exchange with audiences ...
at its most public, art extends opportunities for community engagement but cannot demand particular conclusion”, it introduces social ideas but leaves room for the public to come to their own conclusions.
Public art is art in any media that has been planned and executed with the intention of being staged in the physical public domain, usually outside and accessible to all.
Public art is significant within the art world, amongst curators, commissioning bodies and practitioners of public art, to whom it signifies a working practice of site specificity, community involvement and collaboration.
In a similar example, sculptor Gar Waterman created a giant arch straddling a city street in New Haven, Connecticut.
This is the case of High Line Art, 2009, a commission program for the High Line, derived from the conversion of a portion of railroad in New York City; and of Gleisdreieck, 2012, an urban park derived from the partial reconversion of a railway station in Berlin which hosts, since 2012, an open-air contemporary art exhibition.
The 1980s also witness the institutionalisation of sculpture parks as curated programs.
Between the 1970s and the 1980s, gentrification and ecological issues surface in public art practices both as a commission motive and as a critical focus brought in by artists.
The individual, Romantic retreat element implied in the conceptual structure of Land art and its will to reconnect the urban environment with nature, is turned into a political claim in projects such as Wheatfield – A Confrontation (1982), by American artist Agnes Denes, as well as in Joseph Beuys’ 7000 Oaks (1982).