Organizational dynamics and priorities determine how art is produced as a public service. Chicago's CETA-sponsored Artists-in-Residence program (AIR) developed a distinctive culture and organizational structure to adapt to a complex and politicized environment and to manage a wide variety of artistic personnel. The fate and effectiveness of artists and their projects depended on their contribution to the organization's survival and the fit between AIR's manifest culture and the various latent cultures artists endorsed. Recurring internal struggles and external problems resulted in a narrow, conventionalized and noncontroversial interpretation of public art.
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