From the beginning of 20th century art in the public space you usually observe in central points of city with the form of sculptures. From the obelisk of  Napoleon in Paris, which it brought from Egypt, in more recent work - symbols of authoritarian arrangements of Josef Thorak, Giorgio Goti and Vera Mouchina ( nazism, fascism and Stalinism).

The decade 50 ' New York succeeds Paris as international centre of art where the disposal for innovation and the search of new identity prompt the artists to try new techniques. In the figurative arts the abstract expressionism and the art asamplaz  represented the first venturesome placements of American artists. In 10 years, from 50 until the 60, the galleries in New York are increased in 300 while in the dues of decade the 50 is inaugurated the impressive building of museum Guggenheim Museum by Frank Loyd Right.

Been born in Greece in 1926 it migrated in New York with his family from his 7.  After 2 year in the army he studies publicity in Brooklyn Community College. His H pastime with the publicity will keep little while gains him the art.  His first efforts he was with painting and [kolaz] but unsatisfied it will be turned in manufactures by objects of daily use. In 1958 it will realise his first report with [kolaz] in the gallery Avant-Garde. At 1960 he observes neon as means and decides initially it incorporates him in his work, but observing the dynamics that it only has from his decides it deals exclusively with this.  Up to 1973 his work they are entertained in internal spaces, but that year it will manufacture `'the Room΄΄, his first work from young person in public space. It was the starting line for his use new as figurative means in a lot of buildings on one side in order to it elects characteristically their and also  in order to it withholds their certain problems. Characteristic example biggest in his scale intervention in Tachikawa of Japan where the artist is called after completion his work to try it improves a problematic architectural drawing.

The interventions in the urban space and in facades of buildings of Stephen Antonakos give the impression that they are incorporated in architectural (as long as vaguely and they are the buildings) and that they do not constitute additive work. This it achieves him giving big attention in that clues that determine the architectural style of each building.

In this inquiring subject is analyzed the work of Stephen Antonakos as well as other modern artists in the Architecture and the public space.