The permanent and site-specific design of the square invites diverse appropriation through its repertoire of forms: Like the bustling community center in the surrounding buildings, it uses urban legacy for public offerings of participation.
However, the installation was created while the living conditions of the people were exten-sively restricted by infection control measures. The intended use for various event formats (among other things, there is a large stone pedestal in the center of the enclosure, which pre-sents young art in public space as Galerie M20) is still not permitted or reasonable to nearly its full extent.
This circumstance reinforces in a quite unpredictable way the work's already inherent reflec-tion on the boundaries between the public and the private, on the place of art. For the time being, the effect as a monument to rather than a tool for producing the city as a collective event prevails.