Rosalyn Deutsche's "Architecture of the Evicted" focuses on city projects of restoring sites to emphasize historic elements and to "restore - against disruptive forces - a model city from the more remote past, one that is harmonious in its entirety" (Deutsche 151). She reveals, however, that these "restorative" efforts do not truly succeed in returning the city to a purer, more original state, but transform the areas of the city into centers of luxury facilities for housing, business, and recreation which are most accessible to the rich, "gentrification," and "destroy the physical conditions for survival - housing and services - for redundant blue-collar workers" (Deutsche 152). Of course, such projects would drastically raise property value and force unwealthy tenants out of their housing, but the purpose behind them is ultimately flawed. The city is stable and functional (or at least stable in that it is supporting the citizens that it is) before this restoration/gentrification process. Altering the city to anyone's ideal (in this case the ideal of the rich, whose class is funding these alterations) disrupts the city's current functionality.

Deutsche is obvious concerning her admiration of the work of Krzysztof Wodiczko, whose work includes large-scale projections that reveal the true effects of these urban projects. Some particular sites of these projections actually include art galleries and museums. What is here somewhat distressing is that the presence of art galleries is actually considered to be part of these city appearances the marginalize those of a low class. Art is not considered to belong to the public but only to the rich, whom its presence will attract: "It displays to future luxury tenants the high-status as well as high-income character of the area. More, the museum creates an image of redevelopment as a whole, legitimating it as a positive force that brings cultural benefits to all New Yorkers" (Deutsche 153). "High-Culture" is only the culture of the rich. I think this ads another layer of meaning to Wodiczko's projection onto the New Museum of Contemporary Art, which took the form of giant locks and chains around the building, revealing that the location being "restored" would not belong to the current population. Indeed, they would effectively be unwelcome and forced out of the area. But the building, a contemporary art museum, being off-limits to the entire population, reveals by Art's very hand that art is not made for everyone. It is a self-damning message that intends to subvert itself and its peers and create a new order that it cannot be a part of and still be recognized, given the current order.

Deutsche, Rosalyn. “Architecture of the Evicted.” Theory in Contemporary Art since 1985. Ed. Zoya Kocur and Simon Leung. Malden, MA: Blackwell Publishing, 2005. 150-165