(let's call this the response of Spectator A), his point is that spectators B-Z are normally considered rivals to culture, rather than rivals with different cultures. That is, the dominant discourses of art inculcate proper procedures and protocols for dealing with art. These discourses violently exclude alternatives to their own accounts, not as alternatives, but as invalid, ignorant and non-cultural. It needs to be reiterated that the public are multiple, diverse, fragmentary, contradictory and so on. As is every individual. Nevertheless, there are different ways in which the idea of the public is invoked in talk about art. Here are three. The public can be ignored: the artist, or curator, can assert the primacy of the artwork as an autonomous and independent creation. Such an attitude preserves the idea of the public sphere in contrast to the private sphere of art production. By dismissing the claims of the public sphere as irrelevant to the making of art, this attitude preserves the sanctity of individual creation. Or, in other words, the artist is thought of as a kind of expert at making art. The public are irrelevant because their response is only counted to the degree they bow to, and learn from, the artist's expertise. The public can be pandered to: the artist, or the curator, can place art at the service of a particular community or public site. In other words, the public can be given primacy over the art. Here the boundary between the public sphere and private sphere