In the course of her works Maria Nordman has brought the discussion constituting the meaning of art from the museum into the city streets. In the context of her working, a work of art could be placed at any time and into any neighborhood of the city. Already in the sixties, Maria Nordman left the usual sites for art exhibitions, and began to work in the streets of the city, where a work of art was not pre-defined. Firegardens at village limits were made (here shown by photo-frament sequences), double projection filmrooms (here shown in film-strips and plan), conditions in city streets in which the sun is a constant player (shown on these pages with drawings, photofragments and texts). These early works were until now not so well known, and appear here for the first time in publication, as part of a sequence of publications in her care. In the development of her works in cities, she finds a linguistic interconnection between the artist, the art-historian, and the unknown person of the city. (There's a kind of diurnal neighborhood in the process of the work. You find it already in the flexion of noun to verb from work to working.( (Maria Nordman, 1970) Maria Nordman's first book DE SCULPTURA Works in the City shows aspects of some of the major earlier works, while DE SCULPTURA II city/sculpture reaches to other initiatory projects that could throw some light on this work's ground-breaking decisions.