 Over the past three decades, investment in cultural infrastructure, museums, concert halls and performing arts centres has become a familiar tool in urban strategies, placemaking and branding around the world. New, renovated or extended arts buildings have been central to strategies for urban regeneration, for tourism and placemaking. Cultural organisations large and small have sought to define themselves as much as community anchors as hubs of artistic innovation or conservation. But the context in which they're operating today is changing rapidly. The long-term impact of the pandemic, as well as that of growing pressures of climate change, is still unclear for city centres. The same is true for cultural organisations. Some trends appear to have been accelerated. The move to digital, for example, the priority afforded issues around racial equity and justice, while others have reversed the grades in cultural tourism. What's clear, though, is that these changes in how we live, work, socialise and travel, as well as the growing interest in more localised lives centered around resurgent town centres and neighbourhoods, have important implications for how cultural organisations contribute to the quality and texture of urban life going forward. Digital programming is creating new audiences and constituencies for arts organisations, divorced from any specific urban context. Meanwhile, much of our new infrastructure is still highly specified in formal configurations like classical console halls, proscenium opera houses, galleries in large urban centres. These are not easily adaptable as art forms themselves and audience desires more from change. Are these changes permanent or temporary? Will things pop back? If so, can our current cultural infrastructure continue to satisfy the civic agendas and expectations on which they were premised? If not, how will relations between city centres, more local neighbourhoods and the digital sphere change? What will all this mean for cultural institutions, artists and audiences? And how could this experience in Europe and the US inform the many cities in Asia, Central and South America, the Middle East and Sub-Saharan Africa, which have more recently embarked on the cultural infrastructure train? Tune in and find out.