The paradigm of public art is shifting in the midst of liquid modern society as that of urban space is also in transformation. As a sequence of liquidity of spatial politics, public art is presented as a temporary projects rather than a permanent initiative. These projects promote active public participation while travelling worldwide in repeated sequences. Therefore artwork loses its physical site-specificity. Site is born when temporal specificity interferes in spatial matter. The temporal aspects creates stories upon which site is built. Public Art that is presented in temporary or ephemeral occasion visualizes everyday momentum. The temporary public art, especially the travelling ones, is often presented in repeated or self-replicated styles. This repetition loosen the tight correlation between the artwork and the site; furthermore the relation between the artist and the artwork. In the process, the role of audience is amplified. Including the premise that temporary public art is based on everyday setting and is the subject of spatial consumption, the tendencies of reproduction, self-translation, and audience-driven reconfiguration resemble that of kitsch culture and its derivative mechanism which enables possibilities of renewing its predominant values. The reinterpretation of kitsch culture, especially in the context of imitation and reproduction, allows audience to become participants, storytellers, and critics. In case of travelling contemporary public art, the audiences' aesthetic experience of the artwork allows them to become creative consumers who, through their subjective interpretation in words and images, link the gap between online and offline, public and private realms. This new paradigm of creative consumption expands relational aesthetics and the temporal-spatial experience of public art. This study focuses on these aspects of travelling public art and proposes new paradigm of understanding the genre.