The idea has become increasingly popular over the last few years. This year's EVA, for example, was spread throughout the city. It was excellent in many respects, but it seemed over-extended logistically, as did the Claremorris Open, which made the town its gallery. The precision placement of the works that made up the smaller scale Resonate in Belfast illustrated the problem. With few exceptions, every piece in a publicly-sited show needs an exceptional level of planning, a fact illustrated by the postponement of Dorothy Cross's Nissan Art Project winning Ghost Ship, now scheduled for February next year.
Public art is a growth area.
The Hugh Lane Gallery welcomed the donation of Francis Bacon's studio, which will eventually go on permanent exhibition, though the theme park implications of exhibiting a studio did arouse some debate. Jobst Graeve, a talented curator, departed from Sligo's Model Arts Centre, which has finally closed for an extensive overhaul. Meanwhile another talented curator, Patrick Murphy, returned from the US to take up the job of director of the RHA Gallagher Gallery. Bill Viola's Nantes Triptych, shown as part of the Belfast Festival, is not a new work, but it is a brilliant showcase for the potential of video as a medium, and it also serves as a benchmark for younger artists who want to work in the area. This year alone he had the unique accolade for an Irish artist of a major retrospective at the Liverpool Tate Gallery - a show in which he acquitted himself very well.