The Dual Turn of Contemporary Public Art: From Being Collected to Becoming Public

This paper explores the evolving meaning of publicness in contemporary public art amid increasing privatization, shifting curatorial practices, and the expanding influence of market-driven cultural policies. Once defined by their physical presence in civic spaces and accessibility to diverse audiences, many public artworks now undergo spatial, legal, and symbolic transformations. Some are removed from the public realm and absorbed into private collections, while others are reintroduced foundations, corporate displays, or philanthropic initiatives. These developments blur the boundary between public good and private interest, raising questions about visibility, participation, and cultural ownership. Through case studies of Banksy, Richard Serra, and Augusta Savage, this research examines how changes in ownership and institutional control reshape not only access to art, but also its collective meaning and socio-political resonance. Drawing on Tony Bennett s theory of the Exhibitionary Complex and Pierre Bourdieu s concept of cultural capital, the paper argues that the value of public art lies not in static placement or legal designation, but in its ability to engage memory, foster dialogue, and remain visible to the public. Ultimately, it calls for a collaborative approach between private and public actors to preserve the cultural and civic functions of public art in a time of systemic transformation.