There is a subtle difference in the response to framed art and the wall painting. The frame removes the painting from the viewer's world. The space between them is discontinuous. By contrast, the viewer identifies with the mural as part of his environment. Painted on site, the mural attaches a fine art context to the locality in a way that framed art cannot. Painting the wall and encountering the wall are contiguous acts with the potential to produce a vital experience not available with framed art.

The stretched and framed painting is a signifier of art as an autonomous discipline. Its meaning is linked to, and perhaps limited by, the supporting historical dialogue. The public mural carries the art historical context of fine art and has the added advantage of maintaining the context of the environment of which it is a part. This allows the viewer to experience a stronger sense of identification with the art work.

Equally connected to fine art and community, the public mural is an energized visual language. The public mural is an important source of the aesthetic symbolism that enlivens cultural mythology. As if the eyes of culture, the mural looks beyond the rational to the human experience. It communicates knowledge through the encounter. It is perceived holistically. Its meaning is not limited to strict causality. The mural provides the orienting experiences of culture at a time when many traditional disciplines are losing their ability to inspire an audience.

The public mural is a symbol of shared values in the community. As a cultural landmark, the mural has power. Like a beacon, it radiates its actualizing force over the community. It provides an assessable aesthetic experience that unites diverse social groups in a common bond. The encounter with the public mural transcends class distinctions and social barriers. It works its magic on every passerby. Through the microcosm of an idealized event, mural art communicates the universality of the human spirit.