Site-specific art
Artwork conceived for one particular place (its scale, history, sightlines, and community) such that moving it would change or destroy its meaning.
The idea took shape in the late 1960s and 70s as a reaction against placeless modernist plaza sculpture, the work now derided as plop art. Its defining courtroom moment was Richard Serra's Tilted Arc, installed across New York's Federal Plaza in 1981 and removed in 1989 after public hearings. Serra's argument, that to remove the work was to destroy it, is the purest statement of site-specificity ever made, and he lost.
That history is why commissioning contracts now routinely include relocation clauses: if a work is genuinely site-specific, everyone should agree in writing, up front, about what happens when the site inevitably changes.