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be put into practice in the museum. There are too many restrictions. Everything is ‘forbidden’. As such, the city, the
street becomes a kind of laboratory, an experimental world, not just a place to present a finished product that no one
We might also like some works or street art and dislike others, in the same way as some people might like all street
art, while others dislike the lot. This is however a common aspect of all forms of public art and cultural goods, not
just street art. ‘Arts goods’ are controversial goods hinging on the subjective, personal experience, rather than being
outright ‘goods’ or ‘bads’.

Dilemma 2: How do art and factories go together?

CN: It is impossible to ignore such spaces which occupy a special place among the various forms of industrial
heritage, the memory of the modern city being marked by the presence of the factories that grew with him. Worn
down by time and exposed to the danger of being forgotten, the factory acquires patrimonial value through all the
memories that it awakens; it is a celebration of the life story of the common man, re-finding the specific character of
the place. It becomes an exhibition of time and space.

LH: The arts are dream producers. They are creating new experiences that we presently consume at higher in-
tensity than any other material goods. They wear off on us but they also rub off on us as consumer. Arts consumption
needs learning towards its consumption. It is a process that enhances life, first intriguing us and later opening our
appetite and enjoyment. It fits in an economy allowing for joy to persist, in contrast to the goods with which we get
quickly familiar and accommodating to them rather than enjoying them. Increasing wealth is not clearly associated
with increasing wellbeing; we tend to equate wealth with material goods, yet material goods become part of our ex-
ternal world very quickly, eluding our internal fulfilment. While we might miss many goods if they disappear, we do
not enjoy them for too long once we acquired them.

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