Chris Burden’s Child’s Play, reported in the Art Newspaper, is made (appropriately enough) from a million pieces of Erector Set in the forecourt of the Rockefeller Center.  From this angle Burden’s sculptural analogue of the archetypal skyscraper masks the real thing – an example of how artefacts in the public domain are enjoyed in the Big A. This has been the site of some great installations over the past couple of years. The point (sic) to be noticed in a public art project such as this is its anti-monumental quality: sure, it’s large, but that’s not what makes a monument a monument. What counts in projects like this is that it’s like an exhibition: you see it, you experience it, but if you don’t like it, you can relax in the knowledge it will go away. On the other hand, a public monument (as all Canberrans know) pokes you in the eye every time you encounter it, like an ugly building, or a stupid bit of road engineering: art rage and road rage are two sides of the same medallion. The transitory nature of such artworks is a lesson our local decision makers could well learn from. And speaking of medallions, this is what you see directly behind the Chris Burden…