Perhaps, neighbouring and understanding the terms of what is and isn't the public and private of the Rouge is dependant on our cultivation of the land as a method of ownership and possessions.
To identify these "inter-action(s)" of the non-living (mud drenching the bank of the rivers) or the non-human places the public as an already existing circumstance of the place regardless of the accessibility.
Maybe the aims of the artist's interventions is to cultivate and activate the al Masha?