From the field of human geography, the practices, relationships, experiences and actions basted around a space are complementary when it comes to producing it (Lefevbre 2013); that is to say that a neighborhood -or similar administrative demarcation- not only refers to the physical aspects that compose it, but to the networks and links that human beings and not humans are weaving and molding as materialities and collective subjectivities built around a social space.

In this horizon, the design and execution of participatory artistic processes in space public has to do with what certain debates call the right to the city, understanding it as the set of devices, discourses and practices that guarantee equitable access to production and appropriation of it (Carrión and Dammert 2020). Public actions that, in this case, are guaranteed through the collective creation of works that point to the consolidation of space as an agent that contributes to the transformation of representations and imaginaries. As set forth in the terms of reference of the project given by the Metropolitan Heritage Institute:

“The proposal makes effective the right of access and participation in cultural life through the construction of participatory processes and programs, built by various curators and managers, that reflect diversity and that show a territorial balance in the cultural offer of the city (…) in this sense, the proposal will promote the use of public space by of artists, for the benefit of citizens, promoting the active participation of these in the public space, through a new appreciation of material heritage and immaterial, and of the architectural wealth of the Historic Center of Quito and its surrounding areas.”