The city always exists between what it was and what it is, wrote the philosopher Tony Fry. In this sense, it represents above all a dynamic, never-ending hybrid structure spread in a net of present tenses, which are necessarily unstable and which emerge or disappear with current social moods, needs and tensions. This means that any “living” city inevitably stands astride between construction and destruction, restoration and decay, conservation and transformation, or – ultimately – between the future and loss of the future. This is how Robert Buček encourages us to think about the city. His installation represents a replica of a discovered structure that was created “spontaneously” in Olomouc in the winter of 2021 during the reconstruction of a tram line, dominating its surroundings for several months. The relocation of this temporary structure to one of the most exposed places in the Ostrava public space logically causes uncertainty, because – unlike the gallery space – its status at the particular place is relatively illegible. Thus, in addition to the primary function – that is, the reflection of the natural movements of the urban organism – another important dimension of the installation emerges. In a relatively forceful way, it makes us decide whether art in public space should fulfil conformist patterns, eliminating problems and conflicts that occur as a result of the mechanisms described above, or whether its role is to expose them. It is not unintentional that this clash of ideas occurs in the immediate vicinity of one of the most discussed works of art in Ostrava’s public space, the statue of Icarus, which is accepted by the general public but which is problematic, to say the least, for a large part of the professional community.