Oslo Pilot’s investment in exploring the life cycle of art in public space and the production cycle of the periodic art event is predicated upon key questions of temporality: How can an event with a set periodicity such as a biennial, triennial, or quinquennial address the various life cycles of its exhibited works at a structural level? How might they continue to engage with these exhibited works following the conclusion of the event? How might exhibitionary frameworks be created around the rhythms or temporalities of artworks? What precedents exist for working in this way? What would an event with an irregular periodicity look like? How might artworks themselves engage or challenge the conditions of periodicity imposed by the event or by exhibiting in public space?