Abstract
This chapter opens with a review of public art commissioned by the Olympic and Paralympic Art Programme in the city of Vancouver which resists and critiques the stereotyped tourist image of the so-called ‘city of glass’. The chapter focuses on Hilder’s situationist interventions, in both metropolitan and suburban spaces of Vancouver. Hilder’s text-image art and his performances disrupt the spectacle of the global city and expose how visitors to Vancouver are being interpellated as customers or consumers of the designer city. Using masquerade, Hilder ‘occupies’ the public space to bring to the fore the exclusions produced by market-driven spectacularized (dis)possesion of the urban location, addressing explicitly the forced displacement of First Nations, and of the homeless and the poor removed from Vancouver’s ‘sanitized’ downtown.
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