It can be a place-maker and a catalyst for conversation, as well as a divider of public opinion. That’s a good thing, argues Megan Dunn, who’s looking for a new sculpture to take pride of place on the roof at City Gallery Wellington.

I’m here to tell you that public sculpture is a Marmite proposition, and I love marmite. Of course I am biased, as I’m an art curator looking for a new contemporary public sculpture for an outdoor roof terrace at City Gallery Wellington Te Whare Toi. But that doesn’t mean I’m lying! Hear me out, reader.

Imagine a world with no public art – imagine Cuba Street without the Bucket Fountain. It’s easy if you try, but less interesting, less frothy. Imagine if the Angel of the North didn’t preside over the A1 Motorway in Gateshead, northern England. OK, that is even easier to imagine, but if you don’t know this Antony Gormley sculpture, Google it, it’s worth your while. Imagine Copenhagen without the Little Mermaid statue, or Napier without Pania of the Reef? Public sculpture can be a place-maker, as well as a catalyst for conversation and a divider of public opinion.

I took my research to my local cafe, Swimsuit on Lombard Street, and sat down to drink coffee and scroll numerous articles and surveys about the benefits public sculptures bring to our urban environments. Did you know that public sculpture is good for your wellbeing, can improve the safety of civic environments, and also foster a sense of community? But no one wants to be told how to eat marmite, do they? You spread it thinly on toast.

What do the real people of Wellington think, I wondered? Those without skin in the game. 

I leaned across the counter and said to the baristas, “Hey, can I ask you what your favourite public sculpture is? It’s for an article,” I added. 

My favourite barista paused and thought about it. Her expression clouded over, slightly pensive. 

“If you can remember any public sculptures…” I said. 

The guy making coffees looked at me from above the beans. 

“The zephyrometer, baby, tells me if it’s windy. And it’s functional,” he said. 

I found out the baristas’ names were Sarah and James; they have served me pretty much every weekday for yonks.  

James grew up in Hataitai and remembers looking out at the public sculptures that line the waterfront including the giant orange zephyrometer by Phil Price; Urban Forest, a stack of bright oversized cubes that spin around in the wind, by Leon van den Eijkel and Allan Brown; and Tower of Light by Andrew Drummond. Of course, James didn’t remember the artists’ names, but he remembered their works. Kids used to throw stones through Drummond’s tower of rainbow neon lights. 

“Is this an article about why we should have more public sculptures?” James asked.

“Yes!” I clarified. Then I checked in again with Sarah. “Any public sculpture that made an impact?” 

“I do remember the hand, that was freaky,” she said. 

Exactly. What makes a public sculpture successful? Is it likability? No. Is it relatability? No. Is it the Marmite factor? Yes, and Quasi has it! 

In 2016, a giant polystyrene hand made by artist Ronnie van Hout arrived by helicopter and was dropped into position on the roof of City Gallery Wellington above Te Ngākau Civic Square. Quasi became an instant media darling, making worldwide news. One deeply unkind soul said his face looked like Donald Trump. But other Wellingtonians grew to love Quasi for his pure irreverence. The sculpture was originally commissioned for Christchurch Art Gallery after the 2010 earthquakes. He was a figure of dissent in Christchurch too. In 2025, when he departed again by helicopter, Quasi left the City Gallery Wellington roof barer than before. “I’ll miss seeing your beautiful, but controversial, face,” one fan wrote on social media. 

It’s been a tough time for Wellington in more ways than one. City Gallery Wellington is temporarily closed for refurbishment, but will reopen in October 2026.  Te Ngākau Civic Square is getting a glow-up, and our new library Te Matapihi ki te Ao Nui will open its doors to the public in just March next year. Things are finally looking up for Wellington… and so are we.

One day at traffic lights near the building works in Te Ngākau, my daughter gazed over at the bald City Gallery Wellington gallery roof and said, “Where’s the hand?” 

“It left,” I said. 

“They should bring it back,” she replied. 

I agree, in principle. 

But we can’t bring Quasi back. He’s now perched on a hotel roof in Hobart, living his best life. 

Instead, City Gallery Wellington is on the lookout for a brand-new work for a sculpture terrace on the Harris Street side of our building. It’s an unusual zany rectangular site that has always been intended for an outdoor sculpture but never had one until…. Drumroll… now. We’re inviting New Zealand born artists and artists living here to propose a sculpture for the terrace. It’s a chance for an artist to elevate their work, literally and figuratively. 

We’re looking for something we’ve never seen before, something only an artist can provide, a sculpture that will become an unmissable part of the landscape and make everyone look up.

Artists are invited to submit their proposal here by February 2 – it’s free to apply.