Personal Project Analysis From Ixias ââåpublic Art a Guide to Evaluationã¢ââ

Steve Powers, "Look Look Look," Function of the "A Love Letter of the alphabet for You lot" projection, commissioned by the Philadelphia Landscape Arts Programme, 2009-2010. http://www.aloveletterforyou.com

In the Leap/Summer 2011 event of Public Fine art Review, Jack Becker writes, "There is a dearth of enquiry efforts focusing on public fine art and its impact. The evidence is mostly anecdotal. Some attempts have focused specifically on economic bear upon, but this doesn't tell the whole story, or even the almost of import stories."

Becker's statement gets at some of the main challenges in measuring the "affect" of a work of public art—a task which more often than not provokes grumbling from public art administrators. When asked how they know their work is successful, most organizations and artists that create fine art in the public realm are quick to cite things like people'due south positive comments, or the fact that the artwork doesn't get covered with graffiti or cause controversy.

We are much less likely to hear about systematic data gathered over a long time flow—largely due to the seemingly circuitous, time-consuming, or futile nature of such a task. Different museums or performance spaces, public art traditionally doesn't sell tickets, or attract "audiences" who can hands be counted, surveyed, or educated. A public artwork's office in economic revitalization is hard to separate from that of its overall surround. And as Becker suggests, economic indicators of success may leave out important factors like the intrinsic benefits of experiencing art in one's everyday life.

However, public art administrators mostly agree that some type of evaluation is key in non only making a case for back up from funders, but in building a successful programme. In the words of Chicago Public Art Group (CPAG) executive director Jon Pounds, evaluations can at the very least "help artists strengthen their skills…and address any problems that come up in programming."  Is there a reliable framework that can be the footing of all good public art evaluation? And what are some simple still effective evaluation methods that most organizations tin can implement?

This article will explore some of the main challenges with public art evaluation, and then provide an overview of what has been done in this area so far with varying degrees of success. It builds upon my 2007 Columbia University Teachers College Arts Administration thesis, And Then What…? Measuring the Audience Affect of Customs-Based Public Art.That study specifically dealt with the upshot of measuring audience response to permanent community-based public art, and included interviews with a wide range of public artists and administrators.

This commodity will discuss evaluation more broadly—moving beyond audience response—and incorporate more recent interviews with leaders in the public fine art field.  My goal was not to generate quantitative data on what people are doing in the field as a whole with evaluation (co-ordinate to Liesel Fenner, managing director of Americans for the Arts's Public Art Network, such data is not yet available, though information technology is a goal). Instead, I take reviewed recent literature on public art assessment, and interviewed a range of different types of organizations, from government-run "per centum for art" and transit programs to grassroots community-based art organizations in New York Urban center (where I am based) and other parts of the United States.  I sought to find out whether evaluation is considered important, how much fourth dimension is devoted to it, and the details of particularly innovative efforts.

The challenge of defining what we are actually evaluating

The term "public art" one time referred to awe-inspiring sculptures jubilant religious or political leaders.  It evolved during the mid-twentieth century to include fine art meant to speak for the "people" or accelerate social and political movements, as in the Mexican and WPA murals of the 1930s, or the early community murals of the 1960s-1970s civil rights movements. Today, "public art" tin depict anything from ephemeral, participatory performances to illegal street fine art to internet-based projects.  The intended results of various types of public art, and our capacity to measure them, are very unlike.

In the social science field, evaluation typically involves setting clear goals, or expected outcomes, connected to the main activities of a plan or project. It besides involves defining indicators that the outcomes take been met. This exercise oft takes the form of a "theory of change." Since there are and then many types of public art, information technology is exceedingly hard to develop 1 single "theory of modify" for the whole field, but it may be helpful to use a recent definition of public art from the UK-based public fine art think tank Ixia: "A process of engaging artists' ideas in the public realm." This definition implies that public fine art will e'er occupy some kind of "public realm"–whether it is a concrete place or otherwise-defined community—and require an "engagement" with the public that may or may not result in a tangible artwork equally cease result. This process and the reactions of the public must be evaluated along with any artistic product may come up out of it.

The challenge of building a common framework for evaluation

In 2004, Ixia commissioned OPENspace, the research center for inclusive admission to outdoor environments based at the Edinburgh Higher of Art and Heriot-Watt University, to research ways of evaluating public art, ultimately resulting in a comprehensive 2010 report, "Public Art: A Guide to Evaluation" (see a helpful summary by Americans for the Arts).  The guide's accent and content was shaped by feedback from Ixia's Evaluation Seminars and fieldwork conducted by Ixia and consultants who have used its Evaluation Toolkit. Ixia provides the most comprehensive resources on evaluation that I take encountered, with two main evaluation tools, the evaluation matrix and the personal project analysis. These are helpful as a starting point for evaluating whatsoever project or plan.

The matrix'south goal is to "capture a range of values that may need to be taken into account when because the desirable or possible outcomes of engaging artists in the public realm." It is meant to exist filled out by various stakeholders during a project-planning stage, too as at the midpoint and conclusion of a project.

Ixia's "personal project assay"is "a tool for process delivery that aims to assess how a project'southward delivery is existence put into practice."  I will not clarify it in particular here, except to say that something similar should also ideally be function of any system'southward evaluation plan, equally it allows for assessing how well the projection is existence carried out.

Personal Project Analysis from Ixia'south "Public Art: A Guide to Evaluation"

Matrix from Ixia's "Public Art: A Guide to Evaluation"

Ixia's matrix identifies four chief categories of values:

1. Artistic Values [visual/artful enjoyment, design quality, social activation, innovation/chance, host participation, challenge/critical argue]

2. Social Values [community development, poverty and social inclusion, wellness and well existence, crime and rubber, interpersonal development, travel/access, and skills acquisition]

3. Environmental Values [vegetation and wildlife, concrete environment improvement, conservation, pollution and waste matter management-air, water and ground quality, and climate change and energy],

4. Economic Values [marketing/place identity, regeneration, tourism, economic investment and output, resource use and recycling, education, employment, project management/sustainability, and value for money].

The matrix accounts for the fact that each public artwork's values and desired outcomes volition be different depending on the nature of the presenting organisation, site, and audience.

It is unclear how widely these tools have been adopted in the UK since their publication, and I did not meet anyone in the U.S. using them. Yet many organizations are employing a similar process of engaging diverse stakeholders during the projection-planning phase to determine goals specific to each projection, which relate to the categories in Ixia'southward matrix.  For example, about professionals I interviewed cited some type of "artistic" goals for the work. Some organizations prioritize presenting the highest quality fine art in public spaces, in which case the realization of an artist'due south vision is peak priority (representatives of New York Urban center's Percent for Art program described "Skilled craftsmanship" and "clarity of artistic vision" as key success factors, for example).

By dissimilarity, organizations that include a youth didactics or community justice component may rank "social" or "economic" values higher. Groundswell Customs Mural Project, an NYC-based nonprofit that creates mural projects with youth, asks all organizations that host landscape projects (which may include schools, government agencies, and customs-based organizations) in pre-surveys to choose their tiptop desired projection outcomes from a range of choices, as well as identify project-specific issues. Groundswell does have a well-developed theory of change backside all its projects, relating to the organization'southward core mission to "beautify neighborhoods, engage youth in societal and personal transformation, and give expression to ideas and perspectives that are underrepresented in the public dialog." Notwithstanding, some projection-specific outcomes may be more ecology—for instance, partnerships with the Trust for Public Country to integrate murals into new school playgrounds–while some chronicle to "crime and rubber," as in an ongoing partnership with the NYC Section of Transportation to install murals and signs at dangerous traffic intersections that educate the public about traffic safety.

Groundswell Community Landscape Project, signs from "Traffic Safety Program," a partnership between Groundswell, the Department of Transportation'south Rubber Education program, and several NYC public elemenary schools. Pb artists Yana Dimitrova, Chris Soria, and Nicole Schulman worked with students to create these signs installed at locations identified as most in need of traffic signage.

Groundswell is just one instance of many public art organizations that set goals at the outset of each individual project, based on each projection's particular site and community.  While individual organizations may effectively evaluate their own projects this way, crafting a common theory of modify for all public fine art may be an unrealistic expectation.

The claiming of reliable indicators and data drove

The Ixia study discusses the process by which indicators of public art's ability to produce desired outcomes may be identified, with the following questions:

1. Is it realistic to expect a public art project to influence the outcomes you are measuring?
2. Is it likely that you tin can differentiate the impact of the public fine art project and processes from other influences, east.chiliad., other local investment?
3. Is it possible to conduct meaningful data on what matters in relation to the called indicators?

For example, in studies seeking to measure any kind of alter, skillful data collection should always include a baseline—i.e., economic conditions or attitudes of people Earlier the public art entered the picture. Data collection methods ideally should also be reliable, unbiased, and hands replicated.

The "Guide to Evaluation" does non go into item nearly any concrete indicators of public fine art's "impact." Therefore, the matrix seems to be almost useful as a guide to goal-setting. As the Americans for the Arts summary of this written report points out, "Ixia directs users to [UK-based] government performance indicators as a baseline source, but that is where the give-and-take ends."

Liesel Fenner of Americans for the Arts'southward Public Art Network mentioned in an email to me that while PAN hopes to develop a comprehensive list of indicators in the future, which tin exist shared amidst public art presenters nationally, "developing quantitative indicators is the main obstruction."

According to my interviews with both on-the-basis administrators and public art researchers, many busy arts administrators detect the type of information collection recommended in Ixia'south guide difficult, plush and time-consuming. It can be a challenge to get creative staff to buy into fifty-fifty basic evaluation; says ane customs arts administrator, "artists are paid for a their leadership in developing and delivering a stiff project. Many artists don't meet as much value in evaluation because, in part, it comes in addition to the hard work that they merely accomplished."   It is also uncommon to spend precious grooming resource on something like quantitative evaluation techniques.

Some are of the opinion that even if meaning fourth dimension were spent on justifying public fine art's beingness by "proving" its practical usefulness, this would still be a losing battle that could lead to the withdrawal of back up for public art, the product of bad art that panders simply to public needs, or both. One seasoned public art administrator asked me: "Is architecture evaluated this way? The same way public buildings need to exist, public art needs to exist. It's people looking to weaken public fine art who are trying to ask these questions virtually its impact."

The claiming of evaluating long-term, permanent installations

Glenn Weiss, former director of the Times Square Alliance Public Art Programme and current director of Arts League Houston, posits that economic impact studies are "almost possible with highly publicized, short-term projects like the Gates or large public fine art festivals."   Indeed, the New York Urban center Mayor's office published a detailed written report on "an estimated $254 million in economic activity" that resulted from The Gates, a large installation in Cardinal Park past internationally acclaimed artists Christo and Jeanne-Claude, based on data like increased park attendance and business at nearby hotels, restaurants, etc.  Still, most public art projects, even temporary ones, are non every bit monumental or heavily promoted equally The Gates, making it difficult to testify that people come to a neighborhood, or frequent its businesses, primarily to meet the public art.

Visitors crowd Christo and Jeanne-Claude's "The Gates" (2005) in Key Park. Photo by Eric Carvin.

Weiss besides believes that temporary festivals are by and large easier to evaluate quantitatively than long-term public art projects. For case, during a finite effect or installation, staff members tin go along a count of attendees (some of the temporary public art projects I accept encountered in my research, such every bit the FIGMENT annual participatory art festival on Governors Island and in diverse other U.S. cities, use attendance counts as a measure).

The few comprehensive studies connecting long-term, permanent public art to economic and community-wide impacts, conducted by research consultants and funded past specific grants, have led to somewhat inconclusive results. For case, An Assessment of Community Bear upon of the Philadelphia Section of Recreation Mural Arts Program (2002), led by Mark J. Stern and Susan C. Seifert of Academy of Pennsylvania'due south Social Impact of the Arts Project (SIAP), cites the assumed customs-wide benefits of murals outlined in MAP's mission statement at the time of the study:

The creation of a mural can have social benefits for entire communities…Murals bring neighbors together in new ways and oftentimes galvanize them to undertake other community improvements, such equally neighborhood clean-ups, community gardening, or organizing a town watch. Murals get focal points and symbols of community pride and inspiring reminders of the cooperation and dedication that made their creation possible.

Withal when asked to "utilise the all-time data bachelor to document the impact that murals accept had over the past decade on Philadelphia'southward communities," Stern and Seifert constitute that

this is a much more than difficult job than one might imagine. First, there are significant conceptual issues involved in thinking through exactly how murals might have an touch on neighborhoods. Second, the quality of data available to exam hypotheses concerning murals is express. Finally, in that location are a number of methodological problems involved in using the correct comparisons in assessing the potential impact of murals. For example, how far from a mural might we expect to meet an impact? How long afterwards a mural is painted might information technology take to see an effect and how long might that effect last?…Ultimately, this study concludes that these issues remain a pregnant impediment to understanding the function of murals.

Past comparison data on murals to existing neighborhood quality of life data, Stern and Seifert considered murals' connectedness to factors like community economic investment and indicators of more general neighborhood alter (such every bit reduced litter or crime, or residents' investment in other community organizing activities). The study besides measured levels of community investment and involvement in murals. Still, the scarce data available on these factors, co-ordinate to the authors, are difficult to connect directly to public art in a cause and effect human relationship. Stern and Seifert's strongest finding was that murals may build "social capital," or "networks of relationships" that can promote  "individual and group well-being," because of all the events surrounding landscape production in which people can participate. It was more than difficult to bear witness a consistent relationship betwixt murals and other theorized outcomes, such as power to "inspire" passersby or serve equally "amenities" for neighborhoods. The study recommends that "more systematic information on their physical characteristics and sites—'before and afterward'—would provide a basis for identifying murals that become an amenity."

A more recent 2009 report on Philadelphia'southward commercial corridors by Econoconsult also demonstrated "some indication of a positive correlation" between the presence of murals and shopping corridor success. Murals are described here as "effective and cost efficient ways of replacing eyesores with symbols of care." However, the report as well adds the disclaimer that a positive correlation is not necessarily proof of the murals' role equally the master cause of a neighborhood'southward appeal.

So what tin can we assess nigh hands, and how?

My research revealed that quantitative information on short-term inputs and outputs of public fine art programs is frequently cited (sometimes inappropriately) every bit bear witness of a program's success in things similar reports or funding proposals—for instance, number of new projects completed in i year, number of youth or community partners served, or number of mural tour participants. However, in this article I am non really focusing on this type of reporting, as it does not accost how public art impacts communities over time.

The good news is that there are several examples of indicators that are more easily measurable in sure types of public art situations, including permanent installations. These include:

• Testimonies on the educational and social bear upon of collaborative public fine art projects, from youth and community participants and artists akin
• Qualitative audience responses to public art, including whether or not the fine art provokes whatsoever type of give-and-take, debate, or controversy
• How a public artwork is treated over time by a customs, including whether it gets vandalized, and whether the community takes the initiative to repair or maintain it
• Press coverage
• The "use" of a public artwork by its hosts, e.one thousand. in educational programs or marketing campaigns
• Levels of audience appointment with public fine art via internet sites and other types of educational programming

Below I will summarize some helpful methods by which data is collected around all these indicators.

Mining the Printing

Archiving press coverage of public art projects online is a common practice amid organizations, as is presenting pithy press clippings and quotes in funding proposals and marketing materials as a means of demonstrating a project's success. For researchers, studying manufactures (and increasingly, weblog posts) on past projects can also provide rich documentation of artworks' immediate effects, as well every bit points of comparisons. For instance, the "comments" sections of online articles and blogs can generate interesting, oft unsolicited feedback, admitting from a nonrandom sample.

One possible outcome of public fine art projects is controversy, which is not always considered a bad thing, despite now-infamous examples of projects like Richard Serra's Tilted Arc existence removed. For example, Sofia Maldonado'due south 42^nd Street Landscape, presented in March 2010 by the Times Foursquare Alliance, provoked all-encompassing coverage on news programs and blogs. The mural's un-idealized images of Latin American and Caribbean women based on the creative person's own heritage led some women'south and cultural advocacy organizations to call for its removal. The Alliance opted to leave the mural up, and has cited this project as evidence of the Alliance'southward commitment to artists' liberty of expression. The debates led Maldonado to reflect, "equally an art piece it has accomplished its purpose: to constitute a dialogue among its spectators."

Sofia Maldonado, "42nd Street Landscape," 2010, Commissioned by the Times Square Alliance Public Fine art Plan. Image Source: http://www.timessquarenyc.org/times-square-arts/project-archives/sofia-maldonado/index.aspx

Site visits and "public art watch"

As an endeavour to promote more than sustained observation of completed works over time, public fine art historian Harriet Senie assigns her students in college and graduate level courses a final term paper project every semester that contains a

"public art watch"…For the elapsing of a semester, on different days of the calendar week, at unlike times, students observe, eavesdrop, and engage the audience for a specific work of public art. Based on a questionnaire developed in class and modified for individual circumstances, they inquire virtually personal reactions to this work and to public art in general" (quoted in Sculpture Magazine).

Senie's students besides find things like people's interactions with an artwork, such as how often they stop and look upward at information technology, take pictures in front of it, or employ information technology every bit a coming together place.

Senie maintains that "Although far from 'scientific,' the information is based on direct ascertainment over fourth dimension—precisely what is in short supply for reviewers working on a deadline." This approach towards challenging college students to call up critically about public art has also been implemented in public art courses at NYU and Pratt Institute, and the amass results of pupil enquiry over fourth dimension are summarized in one of Senie's longer publications.

I have not encountered any other organizations able to integrate this type of research into their regular operations; even so, at that place may exist opportunities to integrate direct observation into routine site visits to completed permanent public artworks.

In the NYC Percent for Art programme, and its Public Art for Public Schools (PAPS) wing that commissions permanent art for new and renovated school buildings, staff members are expected to undertake periodic visits "to monitor the condition of artworks that take been commissioned," according to PAPS manager Tania Duvergne. Such "maintenance checks" tin can provide opportunities to survey building inhabitants or local residents nigh their opinions and use of the artworks.

Duvergne uses these "condition written report" visits as opportunities to farther her agency's mission to "span connections betwixt what teachers are already doing in their classrooms and their concrete environments." At each site, she tries to interview custodians, teachers, principals and students about whether the fine art is well treated, whether they know anything about the artwork (and are using the online resources available to them), and whether they desire more than data. Duvergne notes that many teachers utilize the public art in their teaching in some style, fifty-fifty if they do not know a lot nigh the artwork. While observing a public artwork during a site visit every few years is nowhere near as extensive and sustained ascertainment as Senie's class assignment, perhaps a like survey and observation could be undertaken with a broad range of students and staff members over the class of a day.

Project participant and resident surveys

Organizations that create community-based public art usually accept specific desired social, educational, or behavioral outcomes in project participants. Mural organizations Groundswell and Chicago Public Fine art Group describe thorough evaluation processes in which mural artists, youth, community partners and parents are all surveyed and sometimes interviewed before, during and after projects. Groundswell'southward community partner mail-project survey, for instance, asks partners to rank their level of agreement about whether certain community-broad outcomes have been met, such equally whether the mural increases the organization's visibility, increases awareness of an identified issue, and improves community attitudes towards immature people.

Groundswell'due south theory of change (most recently honed in 2010 through focus groups with youth participants and community partners) articulates various clear desired outputs and outcomes for both youth and community partner organizations. This includes the development of "twenty-kickoff century" life skills in teen mural participants. To mensurate this bear upon specifically, Groundswell has made it a priority to continue to track youth participants after they graduate, turn 21, and reach other checkpoints, according to Executive Manager Amy Sananman. Groundswell recently hired an outside researcher to build a comprehensive database (using the free plan SalesForce), in which participant data and survey results, and information on completed murals (such as whether any were graffitied, how many times they appeared in news articles, etc.) can be entered and compared to generate reports.

In 2006, Philadelphia'due south Landscape Arts Plan conducted a community impact study using audience response questionnaires equally a starting signal.  Then- special projects manager Lindsey Rosenberg employed higher students, through partnerships with local universities, to conduct door-to-door surveys of all residents living inside a mile radius of four murals. The murals differed by theme, neighborhood, and level of community involvement. The interns orally administered a multiple-choice questionnaire with questions ranging from general opinions of the murals to level of participation in making the murals to perceptions of changes in the neighborhood equally a result of the murals.  They and so inputted the surveys into a computer database specifically created for this study by outside consultants. The database not merely calculated percentages of each response to murals, but tracked correlations between these responses and census demographic data, including income level and abode ownership.

This inquiry project was dissimilar from prior MAP customs impact studies in that it assumed that "what people perceive to be the bear on of a mural is in itself valuable," as much equally external evidence of change.

In 2007, MAP shared some preliminary results of this endeavor with me to assist my thesis enquiry. At the fourth dimension the enquiry seemed to generate some useful data on which murals were appreciated most in which neighborhoods, and the correlation between appreciation and customs participation in the projects. All the same, since then I take not been able to gather any further information on this study, or find any published results. I did hear from MAP at the time of the study that just 25% of people who were approached actually took the surveys, indicating just one problematic aspect of conducting such enquiry on a regular ground. The database was besides costly.

Most recently, MAP is partnering (page 160) with the Philadelphia Section of Behavioral Health & Mental Retardation Services (DBH/MRS), customs psychologists from Yale, and almost a dozen local customs agencies and funders with core back up from the Robert Forest Johnson Foundation, on "a multi-level, mixed methods comparative consequence trial known as the Porch Light Initiative. The Porch Light Initiative examines the impact of mural making as public fine art on individual and community recovery, healing, and transformation and utilizes a community-based participatory enquiry (CBPR) framework." Unfortunately, MAP declined my requests for more than information on this new report.

Interviewing youth and community members can of course just generate observations and opinions, simply Groundswell at least is too taking the stride of as well tracking what happens to participants after they consummate a mural project. I am still not clear how to prove that any impacts on participants are a direct result of public art projects. Yet surveying project participants and community members well-nigh their feelings about a program or projection, and how they think they were impacted past it, is one of the most practice-able types of enquiry (autonomously from the challenges of getting people to fill up out surveys).

Community-based "proxies"

Groundswell director Amy Sananman has described some success in utilizing community partners as "proxies" for reporting on a mural'due south local affect, effectively outsourcing some of the burden of information collection to other organizations. For case, the director of a nonprofit whose storefront has a Groundswell mural could report back to Groundswell on the extent to which local residents accept care of the mural, how often people annotate on information technology, etc.

PAPS, CPAG, and ArtBridge, an organisation that commissions artwork for vinyl construction barrier banners, take described similar ideas for partnerships. ArtBridge hopes to implement a more formal process in which the owners of stores where its banners are installed tin can document changes like increased concern due to public fine art. PAPS director Tania Duvergne also cites examples of "successful projects" in which public schools, on their own, designed art gallery displays or teaching curricula around their public art pieces, and shared this with PAPS on site visits.

There might exist a danger in depending on customs partner organization representatives to speak for the whole "customs" or to provide reliable, accurate data. Only if cooperative partners can be identified and regular reporting scheduled using consistent measurement tools, the brunt of reporting on specific neighborhoods is lessened for the public art organization.

"Smart" Technology

Groundswell, ArtBridge, and MAP are all starting to utilize the new QR code smartphone application, which uses QR codes to direct public art site visitors to websites with more information about the fine art. Groundswell experimented this by summer with adding QR codes to a serial of posters designed by its Voices Her'd Visionaries program to be hung in public schools to brainwash teens about good for you relationships.  Groundswell tin then track how many hits the website gets through the QR app. In full general, spider web activity on public art sites is an piece of cake quantitative measure of public interest.

Philadelphia's Mural Arts Programme has a "report damage" section on its website, where anyone who notices a mural in need of repair can alert MAP online. This is also a potential source for quantitative evidence of how many people notice and feel invested in murals.

Use of Interpretive Programming

Public art organizations are increasingly designing interpretive programming effectually completed artwork, from outdoor guided tours to curated "virtual" artwork displays. NYC's Metropolitan Transit Authority's Arts for Transit program provides downloadable podcasts nigh completed artworks on its website; other organizations include phone numbers to call for guided tours at public fine art sites themselves (as in many museum exhibits). Both in-person and virtual/phone tours tin provide rich opportunities to track usage, collect informal feedback from participants, and solicit feedback via surveys. ArtBridge recently initiated its WALK program giving tours of its outdoor imprint installations. Afterwards each tour, ArtBridge emails a link to a brief questionnaire to all tour participants, and offers a prize as an incentive for taking the survey.

A Philadelphia Mural Arts Plan guided tour.

Last remarks: What next for evaluation?

While systematic, reliable quantitative analysis of public art's impact at the neighborhood level remains challenging and undervalued in the field, new technologies besides equally effective partnerships are making it increasingly feasible for public art organizations to assess factors such as audition engagement, benefits to participants, and community stewardship of completed public art works. The Ixia "Guide to Evaluation" offers a useful roadmap for approaching the evaluation of any type of public art project. At the aforementioned fourth dimension, nosotros should not forget the ability of art to impact people in ways that may seem intangible or fifty-fifty immeasurable, or, as Glenn Weiss puts information technology, "go part of a memory of a customs, part of how a community sees itself."

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Source: https://createquity.com/2012/01/public-art-and-the-challenge-of-evaluation/