Britain’s Red Phone Box and the Big Blue Cock are examples of visual art. Visual art is that which primarily draws an audience in terms of the visual sense (Januchta-Szostak, 2010). In visual art, these art forms are what are called as public art by Miles, (1997). Public art is constructed in a public domain (in this case an urban landscape) and is left for the interpretation and reception of a public audience. This form of public art has gone by different names before, intersecting at some points in a common definition, such as performance art, conceptual art or community-based art. Such art has always focused on engaging the public. The above two art forms do engage the public as both of them are seen to be representative of the post-modern metropolitan urban scene. The elements that became obsolete in the urban landscape is the theme presented as art in the Red Phone Box and in the case of the Big Blue Cock, it is the un-situated context which leads to a multiple meanings being associated with it.
Both the Red Phone Box and the Big Blue Cock are public art. They are created in a public urban space for people to view them, receive them and discuss them. Here different meanings are constructed for both the art forms. In the context of the Phone Box, sections of audience connect back to their very own past and for them it is commemorative art, for the current youth it holds a different meaning and for the children it might even hold archaic meanings. The Big Blue Cock on the other hand invites criticism and participation. Both art forms hence in inviting public engagement, have their meanings constructed in the space, by the society in which they are installed, supporting the hypothesis that the meaning of art is influenced by the space in which it is present.