Recently, the implementation of public artworks has been given greater flexibility, and through it, people from urban areas gradually gained deeper art experience. Concerns regarding publicity, in terms of the spaces for the artworks or the mechanism of the decision making, have deepened and broadened. Public art projects for special conditions, such as those for the Caotun Sanatorium and the Taipei Prison in 2018, are the conveyors of healing and hopeful messages. And in some recent public art projects for the District Attorney Offices and Courts, part of the budgets have been used to purchase porcelain or ceramic products manufactured by the inmates. The participation of inmates fulfills the requirement of public participation, which created interactions within these unusual institutes, and inspired the creativity of many inmates. Art and creation as the channels for emotions and wishes not only happen at art venues, but also wherever one can identify inwardly, or wherever one's feelings can depend on.

In 2018, the project Unexpected Encounter of Art kicked off the public art in system of High Speed Rail (HSR) with wallpapered Taichung Station hall and performances no longer than ten-min at the hall. In 2019, the project Nowhere comprised of an App of instant fortune telling and AR theaters in HSR stations. Regrettably, there was still a considerable percentage of travelers in a rush that did not notice or appreciate it at all. The art project for the MTR Airport Line also had to challenge travelers' attention. The works are aligned with the circulation of travelers, including the walls around the corridors, entrances, exits, escalators and platforms. One of the artworks consists of interactive screens responding to the movements of travelers. In transportation facilities, people's awareness of the environment is passive, especially when artworks are installed among all kinds of commercial advertisements, limiting the effects of outreach. Generally speaking, artworks for transportation must be conspicuous in order to catch the eyes of travelers who might be in a big hurry and won't have time to stop for any artwork.

How to motivate the public to be more active in the affairs of public art? How to bring it to communities so its operation can be benefited by the acuity of a community? How to make the audience of particular artworks into art lovers? The answers lie in the continuation and adaptability of the publicity we hope to achieve. For example, the public art project Art to Heart for the National Taiwan University was not for substantial artworks, but for collaborative efforts in materials collecting and processing. It sensualized information of the university, especially visualization. Its subtitle "Public Art As Verbs" also raised questions: Is public art about installing a landmark sculpture to strengthen identity and memory of a place, or about having some objects that would inevitably burden the institutes they belong to with tasks of maintenance? Can it be like composing music notes or choreography that are performed continually? Or, is its ultimate task to compile a written report required by the authorities? These questions discern the great difference between proactivity and passivity of the participating public.

In the 2017 Documenta, a project was displayed at the Königsplatz Kassel, a traffic hub in Kassel, an obelisk that deceived the audience as a monument erected since long time ago. Its Nigerian American artist Olu Oguibe inscribed a quote from the Bible in German, English, Arabic and Turkish: "I was a stranger and you took me in." These words were originally quoted by Johann Wolfgang von Goethe after his trip to Kassel and was mistaken as a French but still accepted by local people. With this artwork, Olu Oguibe referred the history of ethnicity and migration in Europe, and its hostility in the refugee policy. After the Documenta, many suggested to keep this project as a permanent installation, which resulted in heated debates upon its appearance, the public's acceptance of the artworks of foreign artists, as well as the sensitivity of refugee crisis today. While a crowd funding for its permanent installation was initiated, far-right groups ignited hate speeches. The debates escalated in the city council, and after one and a half years, in April 2019 the obelisk was eventually moved to the center of the famous stairway in the Treppenstrasse.

Given that some regulations and standards of the implementation of public art have inevitably weakened the independence and dynamics of creation, is it possible to transform it into more open and more foresightful dialogs? In Taiwan, a society with all kinds of voices, art has the chance to be the locomotive of publicity with stratified approaches and widened angles.

In 2018, a public art project with very strong political implication was installed in Tainan, a statue of a past political personage. It sparkled debates on partisanship and political standing outside and inside the city council. Once again, the art society should question that, with political messages, whether an artwork has emphasized the political opposition in a society, or deepened thinking on public issues. After all, the publicity required by the implementation of public art is to guard the autonomy of art in a democratic society. Art is not subject to any religion, political party, or commercial interests, which is the justification of utilizing public resources for public art. Today, the goals of public art is to make its publicity more prevalent and more dialectic, instead of being heroic.

Ripples Stirred in Memories on the campus o Wucyuan Elementary School in Kaohsiung, an art project in memory of the victims of gas explosions in 2014, had been criticized by elected officials that it was manipulating incomplete information of the incidents. Gas explosions are the issues of public safety, but do the memories of the individuals belong to their private lives or the public? Is art regarding traumas able to deal with public issues as well as individual loss, instead of ritualizing personal tragedies?

Public art can't deal with political, social and ethical issues without rigorous thoughts and solid operational methods. It's to acknowledge the missions of public art as the dialogs with the public. As a deliberative democracy is gradually taking shape in Taiwan, public art is able to take a greater role in diverse discourses in the overly intense public opinions. In the very loud but unfocused public opinions, public art can be reflective. In controversial or exploited issues, public art can be a witness instead of as the medium of particular political standing. Public art can enhance a society's structure of publicity, draw lines between the private and public domains to reduce the inordinate interrelation between the individual decisions and collective actions.

In Taiwan, a diversity of facets of public art have been developed in recent years to respond to a variety of social issues. Breaking away from the rigid patterns of implementation, public art is able to achieve more and to have greater publicity through the mechanism of the operation.