“A place comes into art loaded with content. An artist comes to a place in one of two ways: either loaded with content or like a clean slate, ready to receive, interpret and represent what is already there. If the former, an artist will displace the resident meanings of a place with his preconceptions about art. If the latter, (s)he will make those meanings visible as if for the first time.” [Jeff Kelley]

William Forsyth's 19th century terracotta sunflowersAre Asteraceae composite hyperaccumulatorsOr gardens that interanimate an architectureOf Walter Ritchie's post-War proposals for shared allotments and shedsThat catch, channel and screen the rainwater across the cattle market parkAnd over the two acres of Mr. Millington's cabbages, in an 18th century Artichoke FieldJohn Gwynn's "Shew how Convenience, Beauty, Symmetry, How Method, Art, and Nature will agree"Becomes an art of unnameable hybridsThat charge the city's everyday plexus with Leader Williams' earthy matters,That skew John Constable and Samuel Smith panoramasThrough oblique arches, up spires and to peaks of distant hills,That slip gilded paths with water's edgemarksThrough gate, over sidings, past wall, over ditch and pool, pitch, road and river to the transpontine,And that pen narratives into textures across crossingsOf sitting-room-caught pikeOr the Screen House refracting and guiding the eye around the convex east bank,From the South Quay to the Upper Quay stonemason and waterwork's mooringsAnd up across the plain,Pearmain and alder become dotted with the plum accents of Octar Copson's brush.

The crucial issue is not whether but how an artist enters a space." [Rosalyn Deutsche]

Breaking with the modernist paradigm, artists of extraterritorial reciprocity undermine the whole issue of topography inasmuch as they refuse not only geographical borders but borders of all kinds, including those separating art from what is not art, from other and sundry social undertakings.

Their artistic practice does not necessarily culminate in the production of works, but nor is it exclusively process based. Rather, these artists see art as a system for producing meaning, which is most effective when engaged in overstepping borders and setting up interdisciplinary 'work sites'

[Stephen Wright]

Maybe you think things are okay and that you are doing ‘all right’. But someday the monotonous and ugly spaces you live and work in will be organised as intelligently and as beautifully as the spaces have been in some paintings. [Ad Reinhardt 28th April 1946]

The best spaces are often the product of creative cross-cutting between public art and the design professionals, where the continuity of user experience and expression of place are prioritised over what separates art from architecture from landscape. [David Patten]

I will argue that the vast vast majority of artists practicing in the public realm rely on collaborative, rather than co-optive means of achieving ideas with the people they work with. [Jack Mackie]