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participation and allows people to imagine societal alternatives. Consequently, this opening of <br /> the individual's imagination "allows for and encourages more active and consistent participation <br /> in public life by supporting change (even major change) without fear of total disorder." (Boros <br /> 2010, p. 81) <br /> In the United States, the federal government has been a component of public art projects <br /> since the 1800's. The U.S. Capitol Rotunda was one of the first intentional displays of art for the <br /> new democracy. President John Quincy Adams reportedly struggled with the complexities of an <br /> elite patronage being the arbiters of art for the nation, but, ultimately supported federal <br /> government sponsorship of art, emphasizing how art would exhibit the nation's progressive and <br /> civilized values (Senie and Webster 1992, P. xii). The role of government involvement in public <br /> art has been a source of controversy throughout America's history and continues until this day. <br /> Finkelpearl (2000) notes that the history of public art is commonly told with an emphasis on the <br /> word"art"with very little consideration to the public context. <br /> The City Beautiful Movement of the late 19th and early 20th century grew out of the 1893 <br /> Chicago World's Columbia Exposition and launched a public awareness of public space and the <br /> value of aesthetic enhancement to that space. Other cities across the nation were spurred to <br /> consider improvements to the quality of their public spaces, which included public plazas, public <br /> buildings, parks, and transportation thoroughfares. William Wilson(1989)writing in The City <br /> Beautiful Movement describes it as a time when Americans made significant efforts to improve <br /> their cities, making them beautiful, functional and desirable places. As such, it not only included <br /> discussion of the aesthetics of public space, it also included political, social and economic <br /> components, and"demanded a reorientation of public thought and action toward urban beauty" <br /> (Wilson 1989, p. 1). The movement was the start of wide spread comprehensive planning in <br /> 43 <br />