In this paper, I argue for what I define as the multiplicity thesis (MT). According to MT, there is not a single public of public art, but a multiplicity of them. I defend MT both as a descriptive and a normative claim. I explore different types of publics of public art that can be distinguished from one another in terms of their different sizes. I expand my analysis of the differences among separate publics of public art by considering temporary and enduring ones.
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