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by burghard in the run up to the project. By shifting the field of action directly into an urban public space, this duo seems to be following in the tradition of New Genre Public Art. While much discussed at the end of the 1990s, this genre fell into oblivion the moment its aesthetic production side took on a stronger market orientation. In fact, a comprehensive commodification of the ‘insti- tution of art’ began to take hold. The part public, part private work stages involving ‘HHütte’ and bauen denken attest to the artist’s awareness of the conditions of their own practice, which become, both in form and in content, material and plot. It is thanks not least to such internal historical fault lines that burghard’s project can become productively legible i.e. in the pragmatic way it reacts with the reservoir of symbolic associations to prevailing circumstances. Good facilitators know both sides of every border.