With the dismantling of monuments of controversial figures, calls to change the names of streets and public places, as well as protests seeking a just recognition of minority groups, the public sphere, associated with the democratization of exchange between citizens, has undergone profound change, even re-territorialization over the last few years. Having taken hold in 18th century Europe, the notion of public space is closely linked to democracy and corresponds—notably through the written press—with the free flow of ideas. In the name of information transparency, the public sphere gives people the possibility of expressing divergent opinions. It promotes the freedom to express oneself and to protest. On the artistic level, particularly with sculpture, notably with sculpture, it has particularly favoured a public art that represents a vision of the dominant history, which is primarily embodied by bourgeois society, the new figure of a henceforth liberal power.¹

Regardless of the political regime, the public sphere has always been enriched by monuments that celebrate the victorious power. But according to democratic principles, the public sphere allows dissent when it is peacefully expounded. However, this is not always the case. Very recently, the statue of John A. Macdonald, erected in 1895 in the centre of Place du Canada, in Montreal, was targeted by a group of activists who took on the statue of the co-founder of the Canadian Federation. The sculpture of this lawyer, instigator of the residential schools and reserves for Indigenous Peoples and the first Prime Minister of Canada, has

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