While it's true that Doug Aitken's Sleepwalkers project was a spectacle that graced some of Manhattan's most privileged neighborhoods and doubtless enriched the lives of many already rich New Yorkers, as an example of "public" art, it's shameless celebration of bourgeois lifestyle is unforgivably apolitical in the midst of an era characterized by war, economic collapse and increasing disparities between rich and poor. A far more radical approach to public video projection may be found in work that actually deals with issues of relevance to the people of New York City, not just an elite few.