新世纪以来,中国的“日常生活审美化”表征愈加明显,其表现之一便是随着城市化与民主化进程的加快,作为“城市家具”的公共艺术日渐成为城市的视觉标示与文化符号代表而被广泛接受。公共艺术的公共性、开放性等内在品格,不仅打破了公众的审美习惯,改变了其固有的艺术观念,更使得公众参与艺术、实现审美共享的愿景真正成为可能。但艺术创作的独立性与个人性,似乎注定公共与艺术难以达成完美的对接,加之公共艺术先天的纪念性或功能性诉求,使得中国当下的公共艺术不乏无视公众意见和审美旨趣,一味追求 Since the beginning of the new century, China has become more and more evident in the aestheticization of daily life. One of its manifestations is that with the acceleration of urbanization and democratization, public art as the “urban furniture” has gradually become the vision of the city Labeling and cultural symbols are widely accepted. The public character, openness and other internal character not only break the public’s aesthetic habit, change its inherent artistic conception, but also make it possible for the public to participate in art and realize the vision of aesthetic sharing. However, the independence and individuality of artistic creation seem doomed to a perfect match between public and arts. Combined with the innate commemorative or functional appeal of public art, there is no lack of public opinion and aesthetic interest in contemporary Chinese public pursuit of blind pursuit