On an elevated stretch of Manhattan where art and city life have long negotiated meaning together, Friends of the High Line is inviting the public into a curatorial process usually reserved for specialists. Sixty-one artists from thirty-seven countries have proposed visions for the seventh and eighth Plinth commissions, and this summer those visions are open not just to expert judgment but to the voices of anyone willing to look and respond. It is a quiet experiment in democratic stewardship — a recognition that the art which stands in shared space might be shaped, at least in part, by the peo