Curator Joanna Warsza titled the 2018 edition of Public Art Munich (PAM) “Game Changers,” choosing to focus the festival on 20 live events, shifting the definition of public from sites to subjects. In lieu of outdoor sculptures there are events, and in place of a map a schedule. Conceptualizing the festival, Warsza focused on three historical moments that took place in Munich: the proclamation of the Bavarian Soviet Republic in 1919 (established and disestablished within less than 30 days); the inauguration of the Olympic Stadium ahead of the 1972 games (a moment of optimism shattered when Palestinian organization Black September killed 11 Israeli athletes and a German police officer); and the welcoming of refugees at the Munich train station in summer 2015. These events are game changers, according to Warsza—short episodes that affect societies years later. The ideologies that underlie these three events—radical politics, short-lived revolution, long-standing struggle, and the lasting aftermaths thereof—inform the commissions for PAM, which address different political, historical, and social questions from numerous angles. On the festival’s website is a glossary of terms, from “Independent Social Democratic Party of Germany” to “Relational Specificity,” “datafication,” and “countersurveillances.” It’s an ambitious framework for what is essentially a slow and …