Abstract
This paper focuses on particularities of indwellers' perceptions of public art and its locale by drawing on the epistemology of ‘situated knowledges’ (Haraway 1991, Simians, Cyborgs, and Women: The Reinvention of Women. New York: Routledge) and the notion of ‘geographies of engagement’ (Zebracki, Van Der Vaart and Van Aalst 2010,
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