Question

good art often challenges and disrupts social and aesthetic norms, but the creation of public art—paintings, sculptures, and performance pieces displayed in nonmuseum or nontheatrical public settings—typically requires broad agreement among artists, civic officials, and community members about the works message and artistic goals. public art that fails to appease everyone by being sufficiently aesthetically and conceptually bland almost inevitably provokes backlash.
text 2
public art is commonly displayed in spaces intended for purposes other than meaningful aesthetic engagement. some critics of public art therefore note that norm - defying pieces that arent effectively integrated within their surroundings in a manner that primes passersby to appreciate the pieces merits (as is often the case) tend to be regarded more unfavorably than similarly provocative art encountered in museums is.
based on the texts, how would the critics mentioned in text 2 most likely respond to the underlined claim in text 1?
a. by disputing the notion that civic leaders and community members are easily placated by art that is intended mainly to reinforce social norms
b. by agreeing with the idea that only works of art that are universally appealing are suitable for displaying in public spaces
c. by arguing that the reason members of the general public might disagree about a public artworks merits is unrelated to the unconventionality of its appearance and ideas
d. by contending that the kinds of reactions controversial public artworks often receive arent exclusively the result of attributes inherent in the works themselves

Explanation:

Text 1's underlined claim links public art backlash to being insufficiently bland (i.e., its inherent attributes). Text 2's critics argue norm-defying public art is disfavored not just for its provocation, but because it’s poorly integrated with surroundings (a contextual factor, not inherent to the art). Thus, they’d say backlash isn’t only from the art’s own attributes.

Answer:

D. By contending that the kinds of reactions controversial public artworks often receive aren’t exclusively the result of attributes inherent in the works themselves