Light City was a mixed bag. It brought lots of folks down to the Inner Harbor and funneled funds to a number of city artists, but it was also another example of investment projects directing their cash to parts of the city where investment is already high. “Pipelines,” a piece by Baltimore artist collective Luminous Intervention, reminded us of the human costs of business as usual by projecting saint-like images of people of color killed by police officers in the United States on the walls of McKeldin Fountain. It was an important reminder that amid the bread and circuses of the city’s attempts to festival us out of despair, we cannot forget the price paid by those martyred to the war on drugs, and the war on the poor. “Pipelines” reminded us of the real power of public art to focus attention on our most urgent priorities.