education and art performance. Such programs may be financed by government entities through Percent for Art initiatives. Longevity Some public art is planned and designed for stability and permanence. Its placement in, or exposure to, the physical public realm requires both safe and durable materials. Public artworks are designed to withstand the elements (sun, wind, water) as well as human activity. In the United States, unlike gallery, studio, or museum artworks, which can be transferred or sold, public art is legally protected by the Visual Artists Rights Act of 1990 (VARA) which requires an official deaccession process for sale or removal. Forms of public art The following forms of public art identify to what extent public art may be physically integrated with the immediate context or environment. These forms, which can overlap, employ different types of public art that suit a particular form of environment integration. stand alone: for example, sculptures, statues, structures integrated (into façades, pavements, or landscapes): for example, bas reliefs, Hill figure, Geoglyph, Petroglyph, mosaics, digital lighting applied (to a surface): for example, murals, building-mounted sculptures installation (where artwork and site are mutually embedded): for example, transit station art ephemeral (or non-permanent): performances, temporary installations: for example, a precarious rock balance or an instance of colored smoke. History of public art United States, 20th century In the 1930s, the production of national symbolism implied by 19th century monuments starts being regulated by long-term national programs with propaganda goals (Federal Art Project, United States; Cultural Office, Soviet Union). Programs like President Roosevelt's New Deal facilitated the development of public art during the Great Depression but was wrought with propaganda goals. New Deal art programs were intended to develop national pride in American culture while avoiding addressing the faltering economy. Although problematic, New Deal art programs such as FAP altered the relationship between the artist and society by making art accessible to all people. The New Deal program Art-in-Architecture (A-i-A) developed percent for art programs, a structure for funding public art still utilized today. This program allotted one half of one percent of total construction costs of all government buildings to the purchase of contemporary American art for them. A-i-A helped solidify the policy that public art in the United States should be truly owned by the public. It also promoted site-specific public art. The approach to public art radically changed during the 1970s, following the civil rights movement's