Summe

KK 26

September 4–19, 2026

36 artists present small-format art:

Mehmet Akarsel, Ingrid Albrecht, Tanja Arnold, Tina Behnstedt, Magda Betkowska, Isabella Bieri, Caroline Biner, Ursula Carlin, Valeria Eckhardt, Selina Gehrig, Daniel Gutzwiller, Jane Harris, Kamila Hyo, Aga Jaworska, Kevin Kahle, Krawalter, Doris Kummer, Markus Kurmann, Melissa Lehmann, Peter Loretan, Yves Lüthi, MABO, Gabriele Martin, Ulla Mischler, Mau Pavón, Thomas Rendler, Monika Riemensperger, Anna, Katharina Rintelen, Raquel Salema, Agnes Skipper, Dominique Steiger, Aline Stölzer, Franziska Tanner, Marina Targa, Cécilia Ullrich, Daniela Zesiger

OPENING:
Friday, September 4, 2026, 5:00 PM – 9:00 PM

APÉRO-CLUB:
Friday, September 11, 2026, 5:00 PM – 9:00 PM

FINISSAGE:
Saturday, September 19, 2026, 5:00 PM – 9:00 PM

OPENING HOURS:
Wednesday 12:00 PM–5:00 PM
Thursday 2:00 PM–7:00 PM
Friday 2:00 PM–6:00 PM
Saturday 10:00 AM–2:00 PM

NUMAS IGRA Gallery
Hochstrasse 70
CH - 4053 Basel
www.numasigra.com

Flowers blooming from our crotches
Inka ter Haar, Maria Mayland, Dominik Geis
16.08.—20.09.2026

Opening: 15.08.2026, 18:00

Flowers Blooming from Our Crotches brings together three artistic positions that repeatedly intersect both thematically and formally. Drawing on (auto-)biographical references, the works—spanning film, video, painting, and graphic art—seek to articulate a sense of powerlessness in the face of the current antifeminist and anti-queer backlash.

The critical examination and deconstruction of masculinity—understood as both a symptom and a structural problem—is set against personal iconographies. These are shaped by subcultural and popular culture, social conditioning, and ongoing negotiations of identity. A shared point of reference is the engagement with (Christian) religion, approached either through personal biography or through art-historical and cultural-historical inquiry.

FRAGMENTS OF CONVERSATION
In cooperation with Atelier Mondial and Kunsttage Basel

Cordial invitation to the vernissage:

Wednesday, August 26, 6 pm

Opening hours:
Thursday/Friday: 11 am – 6 pm
Saturday: 2 – 6 pm
Finissage: Saturday, September 26, 2 – 6 pm

During Kunsttage Basel (27.08. – 30.08.2026):
Thursday – Sunday, 11 am – 6 pm

Artists: Sixte Kakinda, Mónica Iturribarría, Keabetswe Boccomino and Kwaku Dapaah Opoku, Till Langschied, Livia Kern and Remo Schluep

Fragments of Conversation brings together works by Sixte Kakinda, Mónica Iturribarría, Keabetswe Boccomino and Kwaku Dapaah Opoku, Till Langschied, Livia Kern and Remo Schluep – artists who have all taken part in the Atelier Mondial exchange program.

The exhibition explores how communication remains possible even under difficult cultural, political or personal circumstances – and what fragments of encounter, memory and understanding emerge from this. Many of the works navigate the space between personal experience and social reality.

Mónica Iturribarría founded an embroidery club in Oaxaca after her brother lost his life due to drug-related psychosis; for her, embroidering together becomes a form of mourning and solidarity. Sixte Kakinda from Kampala explores the line as a boundary and a space of encounter; in his textile series, he reinterprets the flag of the Democratic Republic of the Congo using jute and embroidery, as an ever-evolving archive of collective identity. Till Langschied examines, through sculpture, video and installation, the alienation within globalized flows of goods and the fragile relationship between analogue and virtual spaces. Cultural Mediator Keabetswe Boccomino presents "Order from the Loom," a code-based loom by Ghanaian artist Kwaku Dapaah Opoku, exploring fast fashion, time and craft knowledge. Finally, in their video recordings from Okinawa, Livia Kern and Remo Schluep explore how dance can revitalise care for community and environment.

The exhibition is conceived as an open space for dialogue: a collection of gestures, movements, signs and stories that demonstrate that exchange continues even where language, politics or geographical distance reach their limits.

Curated by: Isabel Balzer and Alexandra Stäheli
Location: Artstübli – Kunst & Kultur, Steinentorberg 28, 4051 Basel

Opening hours:
Thursday/Friday, 11 am – 6 pm; Saturday, 2 – 6 pm
Finissage: Saturday, 26 September, 2 – 6 pm

During Kunsttage Basel (27.08. – 30.08.2026):

Thursday – Sunday, 11 am – 6 pm

Programme Kunsttage Basel
Every day during the Kunsttage, guided tour at 4 pm, loom demonstration at 4.30 pm

In collaboration with Kunsthalle Mulhouse. We would like to thank Christoph Merian Foundation and Südkulturfonds for its support.

Veronika Pot - Still Air / Bewegte Luft
Opening Do 27.08. 18–20h
Artist talk Fr 28.8. 15h
⛳️ Postpassage 9 / 4051 Basel

Generations

September 5–27, 2026

Opening: Saturday, September 5, 11 a.m. to 5 p.m.

On the Theme of “Generations”
Since the winter of 2025/26, a group of photographers has been exploring the theme of “Generations” at the BelleVue Studio. The resulting works highlight the differences and similarities between generations and open up new perspectives. A distinctive feature of this studio is the collaborative work in teams: Each of the five works was developed and realized by two people from different generations; one work involved several people. The exhibition invites you to reflect on generations. The workshop offers interested participants the opportunity to develop their own photographic project and refine it through dialogue with experts.

Photographs by:
Deni Rothenfluh | Joe Theiler
Alain Di Gallo | Anonymous young patients
Kylie Wirth | Peter Eckard
fred.illy | V.I.
Rolf Fischer | Patric Vögelin

Sa 12.9.26–SO 27.9.26
ZU GAST: Fliegen hilft
Mit | With: Tim Kummer & Fabienne Stucki, Alexandra Meyer, Marianne Vogler

Vernissage | Opening: Sa 12.9.26 | 17 h

Konzert Flûtorama | Concert Flûtorama: So 20.9.26 | 19 h

offener Workshop | Open Workshop: Sa 26.9.26 | 13–17 h

Lesung von Li Mollet | Reading by Li Mollet: Sa 27.9.26 | 15 h

Öffnungszeiten | Opening Hours: Sa & So | 13–17 h

The exhibition concept was developed based on a large-format drawing by Marianne Vogler. Born in 1947, the artist explores themes related to the human body and its waning strength in old age. In her work, she addresses prosthetics and assistive devices that gradually take over the body’s functions or even replace it. She also raises questions about her own visibility as an aging artist in a present-day world that favors youth and efficiency.

The exhibition brings together three artistic perspectives from different generations. The invited artists are creating new works specifically for this context. This gives rise to a multifaceted dialogue in which diverse perspectives, experiences, and forms of expression converge—ranging from physical experience to technological enhancement, and from the intimate to the societal perspective. The exhibition is accompanied by a supporting program.

Market-place
Linn Nora Henz
21.8.–3.10.2026

Opening: Friday 21.8. from 6pm

Stretcher
Auf dem Wolf 11
CH-4052 Basel

Mon & Sat 1-6pm
www.strrretcher.ch

Kunsttage Basel Weekend (28. - 30.8.)
Open from 11am - 6pm

Mother Artist, in Progress.

Children’s books, everyday sketches, and other declarations of love.

In the exhibition space at Café Flore in Basel, Elena Ferragina is showcasing her artistic work for the first time. The exhibition features personal drawings from the past three years—a period during which she turned her focus increasingly toward illustration and developed her own stories. On display are children’s book worlds in the making: two completed short stories as well as narratives that are still evolving. Alongside these are personal sketches from everyday family life. The works are created primarily with fineliners and watercolor, complemented by collages, colored pencils, and oil pastels.

About the Artist
Elena Ferragina (*1992) grew up in Berlin and has lived in Basel since 2016. She studied media studies and art history in Regensburg, as well as Visual Communications & Iconic Research in Basel. Under the name Studio Visuelli, she works as a freelance graphic designer and artist.

Opening: Thu, Sept. 3, 2026, 5–10 p.m.

Opening Hours:
Mon–Sat: 9 a.m.–10 p.m.

Location:
Café Flore
Klybeckstr. 5
4057 Basel

Isaak Altinyay
TonBildTonBildTonBild

opening:
SA 29. August 2026 at 4 pm
with Soundperformance

open:
SAT, 4 – 6 pm
and by appointment

Isaak Altinyay is a young visual artist and designer. He first gained recognition during his studies and exhibitions at the Haute école des arts du Rhin (HEAR) in Mulhouse, where he pursued a degree in art. Although he is not classified as a traditional painter with a long institutional career, his work has been featured in notable group exhibitions. He is working at the intersections of material, sound, and image.

Biodiversity & (Plant) Reality

24 September – 11 October 2026

Vernissage
Wednesday, 23 September 2026, 19:00
With the artists and curator on the island beneath the dome.

With works by Carolina Brunelli, Ella Yolande, Till Langschied, Evi Leuchtgelb and Stefan Rohner

Plants are everywhere — so ubiquitous that we often stop noticing them. Yet a closer look reveals a radical otherness: without eyes, ears or noses, plants still orient themselves, communicate and interact with their surroundings.

The selected videos present alienated, humorous, ironic and intensified perceptions of plant life. Together they invite us to reconsider biodiversity and to imagine plant reality as something stranger, more active and more complex than it first appears.

Text by Prof. Dr. Markus Fischer

Curated by Andrea Domesle, Videocity, and Prof. Dr. Markus Fischer, Director of the Botanical Garden of the University of Bern

Markthalle Basel
Steinentorberg 20
4051 Basel
On the island at the centre of the Markthalle, presented as part of “Total Lokal”.

【 Region of Grief – Archiving Empathy by Zanbagh Lotfi 】

Fri., September 25 – Fri., October 23

OPENING: Thu., September 24, 7:00 p.m.

In 2022, Helia, a young Persian leopard, lost one of her cubs in a traffic accident. For several days, she returned to the same spot and called out for her cub. During those same weeks, amid nationwide protests in Iran, many mothers lost their children to state violence. In Helia’s return and her voice, grief transcends the boundary between species and becomes something that can be felt, experienced, and shared. The project begins with this gesture of return. A place becomes a site of remembrance when people return to it—through absence, memory, and connection. As an artist living in the diaspora, Zanbagh is interested in places shaped by vanishing presences, returning memories, and bonds that endure even when they are invisible. Through painting, imagery, and installation, the project creates an affective landscape—not to depict grief, but to listen to it and give it space.

FUTURA

Solo Exhibition by Ruth Widmer

October 9–29, 2026

Opening: October 8, 6:00 p.m.

Curated by Wiktoria Tundys

In large-format drawings and works in porcelain, Ruth Widmer creates landscapes that do not yet exist but are already palpable. Architectural fragments of a possible future intersect with questions about the current condition of humanity and the direction in which we are moving—both individually and as a society. These are not images of accusation, but rather a quiet, precise observation, sustained by the hope that a different, better future remains conceivable.

Artstübli – Art & Culture, Steinentorberg 28, 4051 Basel

www.artstuebli.ch

Opening Hours:

Wednesday through Saturday: 11 a.m. – 6 p.m.

Valuables
Natacha Donzé, Matthias Liechti, Boris Rebetez, Renée Steffen, Raphael Stucky, Li Tavor, Babette Walder
28.08.2026–31.10.2026
Opening: 28.08.2026 18–22h
Magazine Release & Hammer Band: 31.10.2026 11–17h

Kunsttage Basel: 28.08.2026 13–18h 29.&30.08.2026 11–18h

Go closer – John Berger Through His Art
September 12 – October 31, 2026

In 2026, numerous events around the world will commemorate John Berger (1926–2017): the British writer, art critic, painter and screenwriter, who combined Marxist social analysis with art and literary criticism, would have turned 100 this year. Conferences, symposia and new translations of his works will document the significant influence of this extraordinary man. As a draughtsman, screenwriter and storyteller, John Berger nourished his critical thinking throughout his life through his creative work. He moved freely between different media and never paid heed to the boundaries between genres. His early training at art college led him to side more with artists than with institutional thinkers. This aspect of his artistic output is less well known to the general public, and this is where the exhibition comes in.
The multimedia exhibition brings together documentary films, drawings, paintings and texts by the British artist and thinker. The rooms of the villa are organised around the themes that play a central role in his work – the world of labour, the plight of farmers, dialogue and collaboration, resistance and the struggle for the emancipation of peoples, as well as personal encounters and correspondence with artists and friends – thus offering a multifaceted insight into the free-thinking mind of John Berger, who spent his life constructing a social history of art that was both intimate and universal.
The chosen title ‘Go Closer – John Berger Through his Art’ underlines the central aim that John Berger consistently pursued through various media: to draw closer to people and their activities, to observe and describe them in order to understand their characteristics.
Conveying a unique creative mindset and a resolute political stance is therefore at the heart of this project, which is aimed in particular at the younger generation, who can engage with the subject matter through various dialogue formats.

Curated by:
Yves Berger
Isaac Klotz White
Franziska Stern-Preisig

STRICTLY COLLECTIVE

Five art collectives from Switzerland and France, selected from 36 international submissions, come together at FABRIKculture.

The starting point is the thesis formulated in KUNSTFORUM International, Vol. 285, “All together now! Art in the Collective” (2022), that collective authorship today is not an exception but rather the fundamental form of contemporary practice. The exhibition examines this shift through concrete collaboration: five distinct styles, one shared form.

● Ado+Comenius (Basel)

● Com&Com (Zurich / St. Gallen)

● GislerGähwiler (Lucerne)

● Ouest-Lumière (Paris)

● Protoplast (Basel)

Curated by Benny Kammüller and Clément Stehlin.

Program:

Opening – October 4, 2026 | 11 a.m.
featuring a performance by Ouest-Lumière

Closing – November 1, 2026 | starting at 11 a.m.
Artist Talk with Com&Com | 2 p.m.

Opening Hours
Saturday and Sunday, 11 a.m.–6 p.m.

Pat Homse, Azadbek Bekchanov, Ana Bălan, Lyna Beggah, Grandee Dorjii, Alex Ghandour, Daniela Flores Arias, Kader Attia
Bebbi explores how migration and transnational biographies shape artistic practices in Switzerland. Starting from the situation of many artists who move to Basel for their studies — for example at the HGK — and who significantly contribute to the local art scene while often working under precarious conditions and only being able to remain temporarily, the project creates a space for reflection and exchange. The programme includes screenings accompanied by discussions, an exhibition, and sound performances. At its core is the moving image as a medium through which questions of identity, belonging, and mobility are negotiated. A particular focus lies on the exchange between local and international artists. By bringing together different perspectives, local concerns are placed within a broader context, fostering dialogue around shared themes in contemporary art. In this way, Bebbi promotes networking, knowledge exchange, and engagement with migration as a central component of artistic practice.

02.10.2026, 18:00: Opening
24.10.2026, 15:00: Launch Magazine on Fictional Art If #3 — Basel Edition
06.11.2026, 18:00: Marriage Party

City SALTS: Arbesa Musa
Solo Exhibition
23 Sep – 13 Nov 2026

Arbesa Musa is currently based between Geneva and Basel. Born in Switzerland and raised in Kosovo, later returned to Switzerland to continue her artistic journey. She completed her Bachelor's degree in Fine Arts at HEAD in Geneva and earned her Master’s in Fine Arts from FHNW in Basel in 2023, where she currently lives and works.

As a multidisciplinary artist, her work explores themes such as feminism, gender roles, violence, intimacy, memory, home, territory, identity, and craft - particularly knowledge passed between women through forms often labeled as "traditional art." Her practice becomes both a personal archive of shared memory and a collective experience.

City SALTS: Brett Charles Seiler
Solo Exhibition
23 Sep – 13 Nov 2026

First solo exhibition of the Zimbabwean artist in Switzerland.

In Brett Seiler’s (*1994, lives and works in Leipzig and Cape Town) artistic practice, gender and sexuality are central themes, challenging patriarchal and heteronormative ideals. His works depict intimacy and acts of kindness between men, alongside a distinctive treatment of space. The backdrop is often void-like, while suggestions of linear perspective, such as the lines of a table, remain loose and ambiguous. Through this aesthetic, Seiler creates a space for artistic and creative freedom that mirrors the apparent freedom of his subjects. His work explores the possibility of living outside established norms, engaging with the body, overt sexuality, sexual taboos, and emotional vulnerability.

His work has been shown in international solo and group exhibitions, including at A26 Set Space Beijing (CN), No Hero Museum in Delden (NL), Schloss Altdöbern (GER), Museum Bensheim (GER), and Zeitz MOCAA (ZA).

Roy Lichtenstein Weekend Workshop Series

In joyful response to the collection of Roy Lichtenstein prints on show 22.8.2026 – 14.3.2027 at Kunstmuseum Basel, druckwerk Basel presents a series of 1 and 2-day experimental printmaking workshops.

Pop motifs & printmaking techniques / 1-day workshop
In the spirit of the collaboration between Graphicstudio and Roy Lichtenstein in the production of the Brushstroke Figures series, this workshop is an invitation to explore various printmaking processes.

By rendering pop motifs - the dots, diagonals and brushstrokes that can be seen in the Graphicstudio prints - with different printmaking techniques, participants can gain an understanding of each technique's differences, in turn, discovering their potential.

Let’s Ben Day! / 2-day workshop
Patented in the 1880s, Ben Day ‘mechanical tints’ were tools for illustrators to fast-track the execution of lining, shading, hatching and most famously, stippling a.k.a. dots. Stylised and magnified these marks became key components of Roy Lichtenstein’s pop vocabulary.

Using the collagraph method & found materials participants will build an own library of shading mediums. They will investigate the creation of enhanced patterns by overprinting the plates and through colour juxtaposition. Then they will explore ways to use these findings to create images.

Program
Sun 13. September Pop motifs & printmaking techniques / 1-day workshop / 120 CHF
Sat 17. / Sun 18. October Let’s Ben Day! / 2-day workshop / 240 CHF
Sat 21. / Sun 22. November Let’s Ben Day! / 2-day workshop / 240 CHF
Sat 12. December Pop motifs & printmaking techniques / 1-day workshop / 120 CHF

11 am to 4 pm each day
Course leader: Lucinda Tanner
Course language: English/German
Fees include inks and consumables, but exclude paper
Suitable for all levels of experience
Registrations: office@druckwerk.ch

druckwerk Basel
Werkraum Warteck pp
2. floor,Burgweg 7
4048 Basel
www.druckwerk.ch

GUIDED TOUR
Roy Lichtenstein Sweet Dreams, Baby!
22. August 2026 – 14. March 2027
Kunstmuseum Basel, Neubau

All workshop participants are invited to be guided through the exhibition by the curator, Fabienne Ruppen. The tours take place on Wednesday 14. October and Wednesday 18. November at 18:00hr. The tour is free of charge.

Roman Signer
Platz ist in der kleinsten Hütte. Für was? Zum Fliegen natürlich.
Permanent Installation since 07.07.2018

Roman Signer (b. 1938, St Gallen) defines himself as a sculptor – a sculptor, however, who expands his sculptures through the dimension of time. His happenings and installations, full of lively wit, have been redefining sculpture since the 1970s. By integrating time, energy, acceleration and change into the sculptural process, he finds new ways of consistently and playfully exploring the possibilities of this intrinsically static medium. The results of his explorations are often transient works, documented in photographic series, film or video footage. Signer’s most important materials are the four elements of fire, earth, water and air. Their composition and their quality are explored with impressive precision and endurance. For example, he lets hole-riddled kayaks fill up with water, catapults furniture across the room, or lays a kilometre-long fuse across eastern Switzerland.

Artachment, the unusual space initiated by Raphael Bottazzini, inspired the artist not only to participate in the anniversary exhibition, but also to conduct an in-situ intervention, or ‘happening’, as Signer refers to his work. There is space in the hut, and Signer occupies it: before the opening and without an audience, he enters equipped with protective goggles and a helmet. Inside, the artist fits a so-called quadcopter[1] with a brush drenched in blue paint. He then navigates this arrangement of flying object and painting utensil through the house and uses it to paint blue dots on the ceiling. The whole action is not without risk, which is why the artist dons the protective gear. What remains of the activity is the painted ceiling and the equipment that is left behind. The artist defines the finished work as an installation: lying on a shelf in the house, the objects reference the activity that took place there. As the public enter, they put together the pieces of the event. The narrative of this small tale is reflected in the title of the work: Platz ist in der kleinsten Hütte. Für was? Zum Fliegen natürlich (There is room in the smallest of huts. For what? For flying, obviously.). It is a short dialogue between the artist and a fictional counterpart that explains everything.

With the simple gesture of painting dots on the ceiling, Signer references the celebrated genre of the ceiling fresco, which is characterised by great artistic skill. To further interpret the scene, Roman Signer’s ceiling painting elevates the small house into more than a hut: the blue dots convert it into a chapel of art.

* What is popularly known as a ‘drone’ is in technical jargon a quadcopter (a four-rotor, remote-controlled helicopter). The term ‘drone’ is not heard among model aviation enthusiasts, since it refers to equipment that can be used for killing and war. The object used by Roman Signer for flying and painting, however, is a work tool, or as he says himself: “A peaceful thing with a flying brush.”

Text: Lena Friedli
Fotos: Claude Gasser
www.romansigner.ch

THYLACINE - Mischa Düblin, Fabian Unold
Schein
Since 07.07.2018 – Permanent installation

Mischa Düblin (b. 1973, Basel) and Fabian Unold (b. 1977, Zurich) have been working together since 2004. The artistic duo realises site- and context-specific works under the name Thylacine. Not limiting themselves to one medium or form, the duo’s situation-specific approach tends towards installations and the performative. Games with the audience or the involvement of other performers open up further possibilities.

Social structures and economic mechanisms are at the heart of Thylacine’s interest. Their art doesn’t aim for the white cube, it doesn’t function intrinsically or by itself, but invariably in relation to the real world. Critically, politically, and always with a good dose of humour, they examine balances of power, and make these events their own. While their art is implemented concisely and consistently, it deliberately leaves room for interpretation. The authentic and persuasive involvement of the two artists results from a content-related but also concretely physical appropriation. In this vein, they expose themselves to the direct jet of a snow machine for the 2007 work Schweigeminute (A Minute’s Silence), or they simultaneously pee their pants for the 2008 performance Stille Wasser (Still Waters) on the subject of fear.

Thylacine’s projects, performances and installations only ever happen once, but they have appeared twice at Artachment. In 2008, Mischa and Fabian were invited by Raphael Bottazzini to realise the very first project ever carried out in the former customs house at Kleinhüningen harbour. After careful observation of the site, the duo gave the space, which was at the time abandoned and frequently visited by vandals, a resident: they installed a life-sized puppet to make it look like someone sitting in the space was angling for fish through the window in the back wall. Through its new inhabitant, the space suddenly became accommodating, and a connection to the outside world was established. The situation was subtle (there was no opening and no publicity) and at the same time so realistic that passers-by who spotted the figure inside called the police.

Thylacine returned to Artachment in 2018 to exhibit in dialogue with Roman Signer. For their newly developed work Schein (Appearance), marking the 10th anniversary of the art space, they suspended a theatre spotlight from a tree next to the building and equipped it with a timer, which switched the light on and off in a predefined rhythm. A spotlight usually illuminates an attraction; a star performs in it, something important is given a stage. But the spotlight installed by Thylacine apparently misses its mark. The light beam illuminates neither the house celebrating its anniversary, Roman Signer’s installation, nor the public. The only connection to the house is the power cable. Other than that, the artistic intervention remains essentially immaterial. Schein illuminates a stage that remains empty, a non-place, a gap, and thus becomes a strange and refreshingly nebulous presence.

Text: Lena Friedli
Fotos: Claude Gasser
www.thylacine.ws

Raphael Bottazzini
Bank & Stapel
Since January 1, 2023 – ongoing

The bench does not pay tribute; it displays names in all their diversity—the diversity that society produces. The bench has been active since 2023 and follows the principle that every person deserves to be named. One of the three boards is replaced each month. The removed boards are set aside, continuously forming a stack in the Artachment exhibition space in Basel. The names are selected by various individuals—who do not coordinate with one another—and incorporated into the work. Through this process, the bench becomes a repository of names and follows no ideological orientation. The curatorial work is limited solely to the composition of two names on each board. The greater apparent arbitrariness of the name combinations arises from the monthly addition of a new board. In the process, the new names mix with the old ones, continuously creating new constellations across the entire bench.
The company Mitte is not part of the work and has no say in it.
Raphael Bottazzini

What is a name? Can a name be classified without context? What tensions are revealed and generated by *Bank&Stapel*? Can a work of art on private property truly be private if it is visible to the public? Can one speak of a juxtaposition of two names when there are a total of six names on the bench? Would the weighting of a committee