This line of investigation considers the implications of Oslo Pilot’s various engagements with the public sphere. It asks: What does the word public mean spatially, politically, virtually, and legally? How does this meaning change over time and across different geo-political situations? Which communities are privileged and which are excluded from the notions of public that underpin works, events, and initiatives in public space? How does the public sphere operate as a framework for exhibiting and circulating works of art? How do artistic gestures change in this context? How do audiences, public accountability, and maintenance practices figure in the works? What responsibilities should art institutions assume toward artists, artworks, and publics when working in public space?