Art, no matter the medium, size, or shape, has a way of capturing attention. It can make you pause, take a second look, and appreciate the work that went into creating something meaningful.
For housing agencies, that attention can serve another purpose: crime prevention.
Strategically placed artwork can draw the eye to areas of a property that might otherwise be overlooked, discouraging illegal activity and fostering a stronger sense of ownership among residents. While art may not be the first tool that comes to mind when thinking about safety and security, it can play a powerful role in shaping how a space is used, perceived, and protected.
To better understand the connection between art and safety, we spoke with Art Hushen, founder of the National Institute of Crime Prevention (NICP), and JB Smith, senior risk control consultant with HAI Group. They shared practical insights on how artwork can support crime prevention efforts, what housing agencies should consider before initiating projects, and how to approach projects cost-effectively.
CPTED, or Crime Prevention Through Environmental Design, is a crime-prevention strategy that uses the built environment to influence behavior and reduce opportunities for criminal activity. It focuses on principles such as natural surveillance, territorial reinforcement, access control, and maintenance—design choices that encourage people to take care of their surroundings and feel a sense of responsibility for shared spaces.
Using artwork to deter crime in community spaces, including public and affordable housing properties, is one effective way to implement CPTED principles.
Public art naturally draws attention. According to Hushen, that increased visibility brings more eyes to a space, reinforces a sense of ownership, and introduces bright, engaging colors—elements that criminals tend to avoid.
“That brings that feeling of this is my neighborhood, and this is my space,” Hushen said. “Residents take ownership, and in turn, that’s less costs for security and fewer calls for crime.”
When art is introduced thoughtfully and maintained over time, it sends a clear signal that a space is cared for and actively monitored—both of which are central to CPTED principles.
“In order to move forward with an art project on your property, one of the most critical things to do is get buy-in from the agency,” Smith said.
Starting small can help manage costs and reduce risk. Painting trash cans, stretches of sidewalks, or a single side of a building can be practical first steps. Even unused or open parcels of land within a property can be transformed into spaces for temporary or rotating artwork.
“I often tell people during my travels to start with the small stuff,” Smith explained. “You can even go as far as just starting to identify people within your community who may want to participate in a community art program.”
To keep projects affordable, Smith suggested using materials such as plywood panels mounted on wood posts. These panels can be decorated by residents or local artists and displayed for a set period of time, creating visual interest without the permanence or cost of painting building exteriors.
Temporary installations also give housing agencies flexibility, allowing them to test ideas, rotate artwork, and make adjustments over time without long-term commitments or high upfront costs.
“In some environments, such as where housing authorities have placed boards and other covers over windows, they can paint murals,” Smith said. “That makes the building look like it’s not vacant. It looks like a window with flowers in it, for example, or is decorated in some way, shape, or form so that it doesn’t give it the appearance of being a vacant building.”
Artwork does not need to be limited to walls. Both Hushen and Smith pointed to underused or transitional spaces that can benefit from visual activation, including lot corners, undeveloped land, fixtures such as trash cans and fire hydrants, chain-link fences, and areas near residential driveways.
Hushen suggested painting:
Placement matters. Art is most effective when located in high-traffic, visible areas, such as near mailboxes, pool entrances, package rooms, or community walkways, where residents naturally gather and pass through. These are the spaces where increased visibility and foot traffic can have the most significant deterrent effect.
Housing agencies can also involve children by purchasing pre-sculpted items that can be painted and placed throughout the property, creating a sense of pride and ownership while engaging younger residents.
If there are no artists within the community, housing agencies can look outward. Local art guilds, cultural organizations, schools, and universities may be interested in participating. Trade schools and welding programs, for example, may welcome opportunities for students to create and display functional or decorative pieces.
When working with volunteers, Hushen recommends establishing a clear approval process before any artwork is installed. That includes reviewing proposed designs and confirming where and how pieces will be displayed. Offering to provide materials such as paint, walls, or workspace can help share costs and strengthen partnerships. In school settings, teachers may even incorporate projects into grading criteria.
Involving residents and local partners in the creation process—not just the final product—can further reinforce ownership, accountability, and community pride, all of which support safer environments.
“When you start your art project, you have to make sure that nothing is easily removed,” Smith said. “People can deface just about everything, so start small by giving people a place to do what they want to do.”
Maintenance is also critical. Promptly repairing or removing damaged artwork helps prevent escalation, as neglected or defaced pieces can signal that a space is no longer monitored or cared for. A clear plan for upkeep should be part of any art initiative from the start.
Hushen also cautioned agencies to be thoughtful about subject matter. Artwork should reflect the community itself—such as local themes or school mascots—and avoid imagery that may be perceived as political or law enforcement-related, as this could increase the risk of vandalism.
“It’s not that extreme, but you want to be specific to the neighborhood,” Hushen said. “You have to be very conscious about what you put up.”
Choosing imagery that resonates locally helps reduce the likelihood of tagging or defacement and reinforces the sense that the artwork belongs to the community.
When in doubt, color matters. “The brighter, the better,” Hushen continued. “We’re looking at cheerful. We’re looking at community. People respond to bright, dynamic colors.”
According to Smith, well-designed and well-maintained art programs can contribute to measurable reductions in crime by changing how spaces are perceived and used.
“As you decorate and become artistic in what you do, people tend to be less aggressive in the area, and they don’t want to hang out there,” Smith said. “When you see fun things and art, it really detracts from that aggressive mindset that they have.”
Engaging external partners can also expand the impact. Involving residents, schools, artists, and local businesses creates broader investment in the space and can help offset costs.
“It’s good to have people within your community involved in this because you can get other stakeholders and companies to support it financially,” Smith explained. “You’d be surprised as to who may turn around and have input on your project once they hear what you’re doing and why.”
Community art does not have to be large-scale, permanent, or expensive to make an impact. When implemented thoughtfully, it can support CPTED principles by increasing visibility, encouraging ownership, and shaping how shared spaces are used. By starting small, engaging residents and partners, choosing appropriate locations, and planning for maintenance, housing agencies can use art as a practical, cost-effective tool to help create safer, more connected communities.
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