Visitors view Patricia Piccinini's “The Embrace” artwork during the “You Know Who” exhibition at the Abdulmecit Efendi mansion in Istanbul, Turkey, 27 September 2022. The exhibition, which by the organizers is described as questioning “the representation of the unknown in contemporary art, based on the symbolic world of the supernatural and unknown in the Byzantine period”, is shown from 20 September until 11 December 2022. (Photo by Erdem Sahin/EPA/EFE/Rex Features/Shutterstock)

People walk past the sculpture by artist Danger Dave titled “Damien Hirst looking for sharks” at the Swell Sculpture Festival at Currumbin Beach on the Gold Coast, Australia, 17 September 2021. The Swell Sculpture Festival is the largest outdoor art exhibition in Queensland and features 65 large scale contemporary sculptures set along Currumbin Beach. (Photo by Darren England/EPA/EFE)

Ana Louzi and Junio Enriuque dance for a video during sunrise from SUMMIT One Vanderbilt on World Photography Day on August 19, 2022 in New York City. Summit One Vanderbilt opened the 1000-foot observation beginning at 5 AM to allow ticketed members of the general public and photo enthusiasts to see sunrise from the elevated altitude. World Photography Day is an “annual, worldwide celebration of the art, craft, science and history of photography” according to their website. (Photo by Alexi Rosenfeld/Getty Images)

An employee of Paris city Hall removes padlocks clipped by lovers on the fence of the Pont des Arts over the River Seine in Paris, December 9, 2014. For years, visiting couples have hung brass padlocks on the iron grills lining the city's bridges to symbolise their undying love – they write their names on the locks, then toss the key into the Seine below. About 700,000 love locks are added every few months and Paris officials say they are damaging the bridges and threatening safety because of the added weight. (Photo by Philippe Wojazer/Reuters)

People appear dangling as a large-scale installation art piece by Leandro Erlich, named “Dalston House”, in London, England. Part of the “Beyond Barbican” summer series of events, the interactive installation is a full facade of a late nineteenth-century Victorian terraced house built on the ground with a large mirror above it to reflect people as to appear dangling from the structure. (Photo by Dan Dennison)

Unwanted phones recreated as interactive birds, part of “Escape III” by Anthony Goh and Neil Mendoza seen on display at the Barbican's Digital Revolution exhibition on July 2, 2014 in London, England. The exhibition brings together artists, designers, film makers, musicians and architects who push the boundaries of creativity that digitial technology can offer, and runs from July 3 until September 14, 2014. (Photo by Matthew Lloyd/Getty Images for Barbican Art Gallery)

The anthropomorphic robot named hitchBOT sits on the shoulder of Highway 102 to begin its 6000 kilometer cross country journey outside of Halifax, Nova Scotia, July 27, 2014. The hitch hiking robot is part of a social experiment to see if drivers will pick up and drop off the robot in one piece to an art gallery in Victoria, British Columbia. (Photo by Paul Darrow/Reuters)

An artwork entitled “Are you still mad at me?” by John Isaacs is displayed at the Death: A Self-portrait exhibition at the Wellcome Collection on November 14, 2012 in London, England. The exhibition showcases 300 works from a unique collection by Richard Harris, a former antique print dealer from Chicago, devoted to the iconography of death. The display highlights art works, historical artifacts, anatomical illustrations and ephemera from around the world and opens on November 15, 2012 until February 24, 2013. (Photo by Peter Macdiarmid)