Guest Editors: John Craig Freeman and Mimi Sheller
In the 50th anniversary issue of Artforum, which focused on new media art, critic Claire Bishop asked: “Whatever happened to digital art? While many artists use digital technology, how many really confront the question of what it means to think, see, and filter affect through the digital? How many thematize this, or reflect deeply on how we experience, and are altered by, the digitization of our existence?" These comments sparked debate across the digital art world because so many artists, curators and critics believe that exactly these kinds of questions are being explored by artists who use digital technology in a multitude of diverse, unstable, surprising and challenging ways. Digital art is not simply in a "new media niche" concerned only with technology. In their published response to Bishop, Lauren Cornell and Brian Droitcour wrote: "Digital art is no longer confined to 'cyberspace.' Concerns about networked technologies have been absorbed by artists who draw on their knowledge of painting, sculpture, performance, and installation, as well as an interest in computers and code." In this issue we seek to highlight the full gamut of digital art with regard to its manifestations in public art, to interrogate what its real contributions are, and to extend the language and the contexts in which we understand it.

Instructions
You will find detailed instructions for submissions on the journals Instructions for Authors page. http://www.tandfonline.com/action/.VBsK9Es3740

Public Art Dialogue serves as a forum for critical discourse and commentary about the practice of public art defined as broadly as possible to include: memorials, object art, murals, urban and landscape design projects, social interventions, performance art, and web-based work. Public Art Dialogue is a scholarly journal, welcoming of new and experimental modes of inquiry and production. Most issues are theme-based, and each features both peer-reviewed articles and artists' projects.

The journal is overseen by co-editors assisted by an international editorial board, which reflects the diversity and cross-disciplinarity of the public art field. We welcome submissions from art historians, critics, artists, architects, landscape architects, curators, administrators, and other public art scholars and professionals, including those who are emerging as well as already established. The journal is published twice a year in print and electronic formats in English language only, and is affiliated with the professional society of the same name.

Peer Review Policy
All research articles and artists' projects published in this journal have undergone peer review based on initial editorial screening.